By Guido Böhm
This assertion by way of John Sandford turns out to sum up the interesting end result of the mysterious enigma of Werner Herzog’s motion pictures: an irrational aesthetic procedure, an irrational functionality and an irrational impression. commonplace phrases utilized in the previous to explain Herzog’s paintings have been: “obsessive, enthusiast, substantial, apocalyptic, holy, demonic”, but additionally, extra neutrally, phrases like “fantastic, irrational, mysterious”.2 certainly, whilst looking at his movies, they could create a really unusual surroundings. The viewer is frequently faced with human megalomania or overall human failure which stands unlike a effective, unconquerable nature. Herzog performs with the presentation of those thoughts. they're associated, different, combined and sometimes set in a a bit of mystical context. from time to time this mix of opposing components are that ugly that the viewer doesn't rather understand no matter if to snigger or to cry. there's a regular presence of an uncomfortable type of humour in Herzog’s paintings. a few of Herzog’s motion pictures appear extra like a psychedelic adventure, than a standard, classically instructed tale, which follows narrative legislation like exposition, plot or climax. In those motion pictures the sentiments appear to be extra very important than their narrative beginning and for that reason the tale turns into less significant than what it consists of. this can be the Herzog-typical irrational aspect, which leaves the viewer inspired, yet leaves him/her with extra questions than answers.
1 Sandford, John: the recent German Cinema. (London: 1980); p. 48
2 ibid.; p. 48
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Extra resources for The Individual in Werner Herzog's Films Aguirre, the Wrath of God and STROSZEK
The Individual in Werner Herzog's Films Aguirre, the Wrath of God and STROSZEK by Guido Böhm