Werner Herzog’s Heartburn of Darkness

I recently watched Les Blank’s excellent documentary Burden of Dreams about the maddening trials and tribulations Werner Herzog went through to film his Fitzcarraldo and found Herzog to be an utterly captivating figure, wisely retelling the tales of the daily chaos around him, both man-made and natural, in a darkly humorous way that reminded me of a much more subdued version of the oh-woe-is-me hijinx of the late great Brother Theodore. Harper’s recently published selections from an upcoming book by Herzog about the making of Fitzcarraldo called Conquest of the Useless (pre-ordered!).  Unfortunately, the “Readings” selection entitled “THE JUNGLE IS OBSCENE” is hidden behind Harper’s subscribers-only wall on their web site, but I grabbed the first two excerpts for your enjoyment.

IQUITOS, DECEMBER 8, 1980
A still day, sultry. Inactivity piled on inactivity, clouds staring down from the sky, pregnant with rain; fever reigns; insects taking on massive proportions. The jungle is obscene. Everything about it is sinful, for which reason the sin does not stand out as sin. The voices in the jungle are silent; nothing is stirring, and a languid, immobile anger hovers over everything. The laundry on the line refuses to dry. As part of a conspiracy, flies suddenly descend on the table, their stomachs taut and iridescent. Our little monkey was wailing in his cage, and when I approached, he looked and wailed right through me to some distant spot outside where his little heart hoped to find an echo. I let him out, but he went back into his cage, and now he is continuing to wail there.

IQUITOS, DECEMBER 18
I have a snake on my roof again. A little while ago I heard something rustling up there, and then something dark fell into the banana fronds with a thwack. I took a look, and it was a poisonous brownish snake that had caught a bird, which was still peeping. I tried hitting the snake with a stick, but it disappeared like lightning into the grass. Only now and then did a blade quiver, and from the piteous cries of the bird I could tell where the snake was. I did not follow it into the grass, because I discovered that another snake was on the thatched roof, and directly above me a third snake was trying to get from a banana frond onto the platform of my hut. I tried to strike it with the machete, but the snake was too fast for me. The power is still out. Evening descended on the countryside. What would happen if the rain forest wilted like a bouquet of flowers? Around me insects are dying, for which they lie on their backs. A woman in the neighborhood is suckling a newborn puppy after her baby died from parasites; I have seen this done before with piglets. Outside a bright moon is floating now above the treetops. The frogs, thousands of them, suddenly pause, as if they were following an invisible conductor, and start up again all at the same time. Their conversations come and go in curious waves. Waxy moonlight, as bright as neon, is shimmering on the banana fronds. I was called to the telephone in the house and fell off the ladder that leads to my platform. It was one of very few phone calls that ever get through to us, and a stranger on the line was trying to make it clear to me that I was a madman, a menace to society.

Posted by Kevin K. on 05/20/09 at 07:45 AM • Permalink

Categories: MoviesMovie News

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KK—If you haven’t already seen it, Herzog’s own documentary My Best Fiend is an absolutely engrossing account of the pathological, usually homicidal artistic relationship between Herzog and Klaus Kinski.

No doubt it’s one-sided tale, but Herzog seems to be quite aware of his own madness, and cognizant that much of what we see as directorial brilliance was purely the result of imprisoning himself in remote, brutal locations with an equally insane genius actor who wanted to kill him, then turning the camera on.

That’s an oversimplification, of course. It was a complex dynamic, a marriage from Hell that rocked the pillars of Heaven.

My Best Fiend is excruciating to watch, jarring, sometimes darkly funny but always dark. Yet as queasy and disoriented as you feel while you’re watching it, you realize after the credits roll that what you just saw was not so much a catalog of creative self-destruction as a sad, wistful love-letter to a dead friend.

StrangeAppar8us, haven’t seen it, but I’ll certainly check it out. The more I learn about Herzog the more intrigued I am with him.  Just a fascinating individual and, as they say, “scary smart.”

BTW, another great “making of” documentary is Hearts of Darkness - A Filmmaker’s Apocalypse. I finally tracked down a bootleg copy of it several years ago because Coppola had been blocking its release, but I see that it was finally released on DVD in 2007. A non-profit theater I was membership director at debuted it in NYC and it’s one of my favorite documentaries ever.  Highly recommended.

Damn—the first comment at IMDB calls My Best Fiend a “love letter.” I need to dig deeper on these things.

I keep thinking I saw Hearts of Darkness on cable some years ago. I must have, otherwise I can’t explain all these memories of Coppola talking Brando down from a roof. Definitely one I would like to own.

Obviously, there’s something about jungles and crazy artists that needs to be examined and analyzed. It’s some kind of meta-frame.

The first Herzog film I saw was Fitzcarraldo, and the image of that huge white riverboat being dragged up a muddy jungle mountainside, listing at sickmaking, crazy angles, painfully hauled by nothing but the muscles of multitudes of small men, with Kinsky clambering all over the film in his wilted white suit, well, it was indelible.

His commentary and treatment of his subject in Grizzly Man was wonderfully delicate and understandably empathic. Thank you for publishing those excerpts—now I know I’m going to have to get that book.

I actually have Kinski’s memoir All I Need Is Love. It ends with the following tender interlude during the filming of Fitzcarraldo:

“Herzog comes to the airport to embrace me. I feel sick.”

Which is nicer than what he says about the director earlier:

Now I absolutely despise this murderer Herzog….He should be thrown to the crocodiles alive! An anaconda should throttle him slowly! The sting of a deadly spider should paralyze him! His brain should burst from the bite of the most poisonous of all snakes! Panthers shouldn’t slit his throat open with their claws, that would be too good for him! No. Big red ants should piss in his eyes, eat his balls, penetrate his asshole, and eat his guts!

Oblomova—I don’t think this will spoil My Best Fiend for KK, so I’ll share.

During the filming of Fitzcarraldo, the indigenous tribesman (who were serving as actors, guides and crew) were terrified of Kinski and appalled at his behavior toward Herzog (and everyone else)...which led to this exchange between the interpreter and the Director:

“Shall we kill him for you?”

“No for god’s sake. I still need him for shooting.”

I loved Grizzly Man.  I heard an interview where he was discussing the footage the camera picked up (with the lens cap on) of the two being eaten alive by the bear.  Powerful stuff.

Thanks for reminding me of Herzog’s work.  He’s an amazing man.  And who tries to move 640,000 pounds of steamship over an isthmus? Crazy, Man.

This Herzog Fresh Air interview from ‘06 is well worth a listen. It’s primarily about “Grizzly Man” but covers a lot of territory, including IIRC some of the Kinski stories. He’s truly one of those rare, endlessly fascinating artists we could use more of.

http://www.npr.org/templates/story/story.php?storyId=4774946

Comment by trollhattan on 05/20/09 at 07:05 PM

I haven’t seen My Best Fiend yet either, but every time I run across the title, I’m reminded of the time some local pranksters got up on the multiplex sign when Burt Reynold had this movie out called Best Friends (shut it, I’m old!), and changed the listing to Breast Fiends.

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