“The epithets used to describe the films of Werner Herzog invariably emphasise the critics’ feeling that they have been impressed by something that goes beyond rational analysis”1
This statement by John Sandford seems to sum up the fascinating consequence of the mysterious enigma of Werner Herzog’s films: an irrational aesthetic method, an irrational performance and an irrational effect. Typical terms used in the past to describe Herzog’s work were: “obsessive, fanatic, titanic, apocalyptic, holy, demonic”, but also, more neutrally, terms like “fantastic, irrational, mysterious”.2 Indeed, when watching his films, they can create a very strange atmosphere. The viewer is often confronted with human megalomania or total human failure which stands in contrast to a mighty, unconquerable nature. Herzog plays with the presentation of these concepts. They are linked, varied, mixed and often set in a somewhat mystical context. At times this mixture of opposing elements are that grotesque that the viewer does not really know whether to laugh or to cry. There is a steady presence of an uncomfortable kind of humour in Herzog’s work. Some of Herzog’s films seem more like a psychedelic experience, than a typical, classically told story, which follows narrative laws like exposition, plot or climax. In these films the emotions seem to be more important than their narrative origin and therefore the story becomes less important than what it carries. This is the Herzog-typical irrational element, which leaves the viewer impressed, but leaves him/her with more questions than answers.
1 Sandford, John: The New German Cinema. (London: 1980); p. 48
2 ibid.; p. 48
Table of Contents
Introduction
1. Plot
2. Main Character
II. “STROSZEK”
2. Main Character
III. Conclusion
Research Objective and Core Themes
This essay explores how Werner Herzog’s films, specifically "Aguirre, the Wrath of God" and "STROSZEK," utilize irrational aesthetic methods to complicate the spectator's ability to maintain a critical distance from the protagonists. By examining the protagonists' descent into madness and social isolation, the work investigates the thin, often uncomfortable boundary between empathetic identification and the objective observation of characters trapped by their own obsessive natures.
- The role of "irrational" narrative structures in Herzog’s cinema.
- The characterization of the "superman" and "supervictim" in Herzog’s filmography.
- The tension between allegorical representation and human vulnerability.
- The impact of performance and casting on viewer identification.
- The cyclical nature of failure and entrapment as a central cinematic motif.
Excerpt from the Book
I. “Aguirre, the Wrath of God”
“Aguirre, the Wrath of God” is “a story of power and madness”³, where a self-destructive maniac drives himself and his men into death and insanity.
Spanish Conquistadors in the 16th century are searching for the legendary El Dorado in the south-American jungle, the famous “land of gold”. Nobleman Aguirre de Lope (Klaus Kinski), obsessed by the idea of the ultimate treachery, declares himself the new leader of the expedition. As they continue their fatal journey rafting on a river, “a collective madness of despair grips them all”⁴. The members of the party die one by one of starvation, or poisoned, Indian arrows, while others are slowly going insane. In the end, Aguirre is the only one left. Alone and mad, on the drifting raft, he dreams about the foundation of a new, pure dynasty and the ruling of the whole of New Spain.
Summary of Chapters
Introduction: This section establishes the theoretical framework, defining Herzog's films by their "irrational" aesthetic that forces viewers to navigate between emotional identification and critical distance.
1. Plot: Provides a synopsis of "Aguirre, the Wrath of God," highlighting the descent of the expedition into madness and the eventual isolation of its leader.
2. Main Character: Analyzes the character of Aguirre de Lope, interpreting him as a megalomaniacal figure who functions both as an allegory for imperialist failure and as a tragic human being.
II. “STROSZEK”: Discusses the narrative trajectory of Bruno S. as he attempts to escape his marginalization in Berlin by seeking a new life in the United States.
2. Main Character: Examines the passivity of Bruno Stroszek, arguing that the character represents the gradual loss of personal identity and the impossibility of escaping one's predetermined fate.
III. Conclusion: Summarizes the overarching theme of Herzog's characters as "personae in extremis," asserting that the director’s authentic, high-pressure filming style compels the viewer into an unavoidable, albeit uncomfortable, confrontation with the characters' reality.
Keywords
Werner Herzog, Aguirre the Wrath of God, Stroszek, New German Cinema, Identification, Critical Distance, Madness, Megalomania, Bruno S., Klaus Kinski, Irrational Aesthetic, Imperialism, Human Failure, Entrapment, Symbolism
Frequently Asked Questions
What is the central focus of this essay?
The essay examines the relationship between the viewer and the protagonists in Werner Herzog's films, specifically focusing on how the director’s unique style challenges the viewer's ability to maintain a critical distance from the characters.
Which films are primarily analyzed?
The analysis is centered on two key films by Werner Herzog: "Aguirre, the Wrath of God" and "STROSZEK."
What is the primary research question?
The paper asks how closely Herzog's films invite the viewer to identify with their protagonists and how this identification process is disrupted or intensified by the director's specific aesthetic choices.
What scientific or critical approach does the author use?
The author employs a film studies approach, drawing on established critical theory regarding narrative structure, the "irrational" Herzogian aesthetic, and the role of the actor as a vessel for reality rather than just fictional performance.
What does the main body of the work cover?
The main body breaks down the plot and character development of both films, arguing that despite their differences, both Aguirre and Bruno Stroszek are archetypal Herzogian characters caught in cycles of inevitable destruction.
Which keywords best characterize this work?
The most relevant keywords include Herzog, identification, cinematic madness, irrational aesthetic, and the dichotomy between the superman and the supervictim.
How does the author interpret Aguirre's final monologue?
The author views Aguirre's final voice-over as his most private moment, suggesting that in his isolation, he ceases to be merely a symbol of imperialist madness and becomes, for the first time, a human being worthy of empathy.
Why is Bruno Stroszek considered a "supervictim" rather than a hero?
The author argues that Bruno is a "supervictim" because he possesses a profound passivity and an inability to defend himself, leading to the systematic stripping away of his identity and agency as the film progresses.
- Quote paper
- Guido Böhm (Author), 2001, The Individual in Werner Herzog's Films Aguirre, the Wrath of God and STROSZEK, Munich, GRIN Verlag, https://www.grin.com/document/64805
