Word: kinski
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Fitzearruldo (Klaus Kinski) is the Indians name for Brian Sweency Fazgerald, a half-crazed, half-Irish failed enterpreneur who is driven by an extraordinary obsession with opera. He hits upon the grand scheme of building an aperu house in the middle of the Peruviam Amazon jungle--a shrine to his god Caruso. To finance his brainechild, Fitzearruldo attempts to claims a large expanse of unexplored territory and cash in on the huge rubber free crop. In order to reach the area, however, he must unvigute up one river and cross over a ridge of land to another river--drugging...
WITH THE GROUNDWORK thus laid out. Herzog sends Kinski and his crew up the river. They chug in a rickety steamship chiristened the Molly-Aida--a name which contains the symbolic kernel of film. The yoking of Molly (Claudia Cordinate), a brothel madame, and Fitzearruldo's mistress, and Verdi's opera is a neon sign for the Juxtapostio of Prostitution and Art. It's Imperialism and the Musc, strolling in hand up into the old Heart of Darkness. Unfortuantely, this potentialty interesting irony is crushed by the film's mass. P>Early in journey upstream. Herzog achieves one scene...
...Klaus Kinski's performance accounts for much of Fitzcarraldo's failure. He overacts ferociously at times to the point of self-parody. He seems stuck in some personal theater, far removed from the film. And for all his furious energy, he is completely cramped by his own style. We can only agree when Fitzcarraldo shouts. "I am the spectacle of the forest!" Though Claudia Cardinale and the rest of the cast try their hardest, they are lost in the overkill of the director and his star. Most ironical of all, Fitzcarraldofack's music. Though supposedly at the heart...
...Arnold Schwarzenegger and with three times the dark charm. Grande Othelo, who starred 40 years ago in Orson Welles' unfinished film It's All True, is the wrinkled old retainer of one of Fitz's broken dreams. And steering the vessel through precarious waters is Klaus Kinski, once the psychotic stalker of Herzog's Aguirre, Woyzeck and Nosferatu, now a Kodachrome picture of the imperialist as jolly fantast. It is one of the many odd pleasures of Fitzcarraldo to watch Kinski's 80 or so teeth, which are usually forged into a vampire...
...Conquistador of the useless," a rival calls Fitzcarraldo. Fitz says: "I am the spectacle in the forest." This is Herzog talking, of course, not Kinski or Fitzcarraldo. Or rather, Herzog is all his characters, all his actors. He is the dreamer, the savage, the engulfing river. This time, Herzog steered his craft through rapids and longueurs, outside dangers and his own follies. A madman and a survivor: a moviemaking Ahab who lived to tell his fabulous tale. -By Richard Corliss