"Rescue Dawn" (director: Werner Herzog)

Count on Herzog to take opening shots of an air-to-ground bombing and make it look like a beautifully choreographed ballet of sorts. And leave it to Herzog to capture the majestic and lush natural scenery of a war-torn country and make it look like a National Geographic paradise retreat. But this isn't necessarily a stereotypical Herzog film, though it does feature a solitary man whose spirit overcomes startling odds -- a seemingly recurring theme for the famed German director. Starring marquee Hollywood madman Christian Bale as Dieter Dengler, "Rescue Dawn" is a true story of an enthusiastic American pilot who is shot down over Laos during the Vietnam War, and becomes a prisoner of Laotian insurgents. During his incarceration, he encounters a group of fellow P.O.W.s, who he befriends and plans a grand escape from his slightly sadistic captors. Bale's leaden performance isn't particularly impressive, but his supporting cast (including "Lost" cast member Jeremy Davies as emaciated P.O.W. Gene) makes up for it well enough. Remarkable photography, some memorable characters on both sides, and a subtle score (mostly by Klaus Badelt). Overall? Not one of Herzog's finest triumphs, but a worthy view, nonetheless.

Werner Herzog's official site

"Aguirre, Der Zorn Gottes (Aguirre, The Wrath Of God)" (director: Werner Herzog)

This legendary 1972 film from Herzog again stars the late Klaus Kinski, and it's a riveting and intense journey with similar themes to Herzog's other works (like the equally memorable "Fitzcarraldo"). The tale follows Spanish conquistadors in their travels through South America in search of El Dorado's mythical gold. Along their path, the small group of travelers and warriors (and their Indian slaves) encounter unfriendly natives, unforgiving terrain, and the might and awe of the Amazon River herself. Suffice to say, they never quite make it to their destination, with greed, infighting, and folly getting the best of the crew. Kinski's role as the delusional and power-mad Aguirre is perfect, bordering on utter madness and with a touch of menace. At the same time, his fellow conquistadors do little to evoke any sense of empathy for their gluttonous and selfish ways, either. It's a study in the perseverance and ultimate doggedness that mankind faces against the fury of nature. Shot on location, the scenery is virtually unspoiled, with primeval rainforests and wildlife the only background. Herzog's camerawork is respectful and majestic, surveying the vast expanses of untamed South America in a drifty, dreamlike state. Here, man is the outsider, and he has no respite from the elements. Pace-wise, "Aguirre" may seem a tad slow-moving to some modern film-goers, but Herzog's films aren't about action or thrills, but moreso character studies, set in incredibly remote locations. A masterful film, well worthy of the accolades it's received over the decades.

"Fitzcarraldo" (director: Werner Herzog)

Among Herzog's many masterpieces lies this 1982 film, starring Herzog mainstay Klaus Kinski as Brian Sweeney Fitzgerald -- a financially-troubled railroad man/opera lover who finds himself in colonial Peru, contracted to helm a steamship deep into the Amazon rainforest in search of a lucrative rubber tree forest situated in a dangerous and inaccessable location. Well, after most of his nervous and grumbly crew leaves him, the few remaining steamshipmen manage to tenuously befriend (and enlist the help of) the native Peruvian Indians, and defying all logic and odds, they manage to create a true engineering marvel and drag their steamship over a mountain in order to reach the remote rubber forest. Fitzgerald (aka 'Fitzcarraldo' to his friends) does all this in order to fund his dream of opening the first opera house in Peru. This, his true passion for the world of music and art, is what drives him to these lengths (well, this and his love interest, the beautiful and remarkably understanding Claudia Cardinale as Molly, who helps fund his seemingly mad quest).
Like most of Herzog's films, the cinematography is stunning, as he captures the grand and epic scale of remote locales (and creates amazingly dreamlike images) like few directors can. His characters are memorable and well-cast, and the scale and scope of his stories are far-ranging, unique, and very human. 'Fitzcarraldo' is a masterpiece of cinema, and here's to it getting it's due one day.

"Cobra Verde" (director: Werner Herzog)

Ah, I am more and more seeing why Herzog is considered a visual genius. His eye for natural landscapes is arresting, and always something to behold. And his innate sense of connection to nature and spirituality (not to be confused with dogmatic belief systems) makes him a fascinating character, to say the least. This 1987 flick is truly epic, and on the basis of imagery alone, it's a work of art. But the story and acting aren't anything to sneeze at, either.
Starring Klaus Kinski as role of 'Cobra Verde' - a lawless loner/outlaw who is hired by the rich boss of a Brazilian sugar cane plantation to oversee the slaves in the fields and in the production. Well, maverick (damned if that word's not been bastardized of late, but fuggit) Cobra manages to lecherously enough make all three of his boss's young daughters pregnant. Subsequently, in lieu of being killed for his indiscretions, he's exiled to Africa, under the pretense of bringing back more slaves. To the plantation mogul's surprise, Cobra survives the fierce and cut-throat (and, not surprisingly, given the circumstances, unfriendly to the white man) culture and manages to carve out a life amongst the tribal locals.
His good luck eventually gets the best of him, as he's used as a pawn between warring kings. Kinski is terrific as the slightly mad protagonist who's not so much likeable as he is magnetic. His hedonism and selfishness gets the best of him, and the final scenes, of Cobra's lonely passing, is highlighted by the presence of a surreal deformed cripple who seems to show us that he is the more divine/fortunate one, somehow. Rich visuals, grand scenery of an epic scope, and the unhinged Kinski make this one very worthy of attention. And the soundtrack by the wonderful Popol Vuh is splendiferous, even. Viva Werner! !

Werner Herzog - "The White Diamond"

Another fine and rather eccentric little film by Herzog, this 2004 documentary centers around the British researcher/dreamer Dr. Graham Dorrington, and his life-long obsession with flying. Here, Herzog accompanies Dorrington to the remote jungles of Guyana to test a new form of flying machine - a very small helium-driven airship that owes much to the great zeppelins of the early part of the 20th century. It seems, for the most part, to be a success, though time is devoted to looking back at the death of one of Dorrington's colleagues in a past (failed) attempt at flight. One of the native Rasta crew members, a likeable fellow named Marc Anthony Yhap, is also befriended and his dreams (of re-joining his family in Europe) are touched upon, though never realized (at least in this film). Marc's steadfast friendship with his rooster is also a highlight, painting a picture of a lonely man in a remote area of the world, doing his best to live and love the majestic world around him, but never quite becoming one with it.
Much like the much-publicized 'Grizzly Man' (also directed by Herzog), this is a very individual portrait of a person (Donnington) that most would call a bit 'crazy', but with a passion that is at once beautiful and touching. As with all of Herzog's films (at least the few I've seen), the cinematography is gorgeous (but then again, that goes along with the rich and pristine landscapes of Guyana). Superb film, and downright unforgettable. Werner Herzog