Important to acknowledge at the outset that Herzog is not a young man. He's the same age as Scorsese and note how long it's been since Scorsese settled on being an illustrator, a lifetime. Herzog as recently as a few years ago was still venturing out in search.
Having said that, it's hard to fathom this was made by the same man who gave us Stroszek and Fitzcarraldo. In those, the place was real. The protagonists were actual lost souls, not actors feigning. The journey was about actually going where we did to tug for transcendence.
He has a female lead this time, the very first time if I'm not mistaken. He has been hobnobbing with Hollywood people for a decade, perhaps the question was put to him, perhaps he thought he had been remiss himself …show more content…
Actors stay actors whether they're playing Turkish gendarmes or Druze rebels. Oriental music swells over sand dunes like you would expect from any other film. He filmed in Morocco sets standing in for the Middle East.
So yes, atypical for Herzog, a letdown, not one of his high marks. Others fret in comments about Herzog not getting the trivia right, right to left writing and such. What's really the trouble for me is that it dulls the edge of dangerous discovery that set him apart. We're in the Lawrence of Arabia timeline anyway and the film is cut from that Hollywood cloth. We're always more or less safely ensconced.
The film has been so gracelessly attacked in reviews however it makes me want to take a step back. All or some of this would have been obvious to him while preparing anyway, so the question is, what got him out of bed and across the ocean to make …show more content…
Maybe he couldn't resist the opportunity of going on cinematic adventure, knowing he has only a few more left. It does have the feel of those tail-end films by aging filmmakers who were past their prime but still mounting epics in the 60s.
Maybe he would explain that we're seeing through the narrator's eyes, the world as Persian poem on evanescent love, arrested love as a deeper kind of love. Ridley Scott was briefly considered to direct, no doubt there would be sweeps of battle. Something he couldn't do and Herzog does, in a strange coup, is that it's a very sweet film about yearning.
I would like to rest here. I wouldn't trust the film to be stating too much but for what it's worth; here's a Herzog tract that swaps feverish ego in the pursuit of futile escape from the confines of the world with a heart that submits to the world being confined thus and so and this doesn't stop it from journeying freely.
Islamic poets make a big deal of this, acquiescing to be simply a vessel for luminous mystery. Maybe re-read on that Rumi than get it
Having said that, it's hard to fathom this was made by the same man who gave us Stroszek and Fitzcarraldo. In those, the place was real. The protagonists were actual lost souls, not actors feigning. The journey was about actually going where we did to tug for transcendence.
He has a female lead this time, the very first time if I'm not mistaken. He has been hobnobbing with Hollywood people for a decade, perhaps the question was put to him, perhaps he thought he had been remiss himself …show more content…
Actors stay actors whether they're playing Turkish gendarmes or Druze rebels. Oriental music swells over sand dunes like you would expect from any other film. He filmed in Morocco sets standing in for the Middle East.
So yes, atypical for Herzog, a letdown, not one of his high marks. Others fret in comments about Herzog not getting the trivia right, right to left writing and such. What's really the trouble for me is that it dulls the edge of dangerous discovery that set him apart. We're in the Lawrence of Arabia timeline anyway and the film is cut from that Hollywood cloth. We're always more or less safely ensconced.
The film has been so gracelessly attacked in reviews however it makes me want to take a step back. All or some of this would have been obvious to him while preparing anyway, so the question is, what got him out of bed and across the ocean to make …show more content…
Maybe he couldn't resist the opportunity of going on cinematic adventure, knowing he has only a few more left. It does have the feel of those tail-end films by aging filmmakers who were past their prime but still mounting epics in the 60s.
Maybe he would explain that we're seeing through the narrator's eyes, the world as Persian poem on evanescent love, arrested love as a deeper kind of love. Ridley Scott was briefly considered to direct, no doubt there would be sweeps of battle. Something he couldn't do and Herzog does, in a strange coup, is that it's a very sweet film about yearning.
I would like to rest here. I wouldn't trust the film to be stating too much but for what it's worth; here's a Herzog tract that swaps feverish ego in the pursuit of futile escape from the confines of the world with a heart that submits to the world being confined thus and so and this doesn't stop it from journeying freely.
Islamic poets make a big deal of this, acquiescing to be simply a vessel for luminous mystery. Maybe re-read on that Rumi than get it