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Werner Herzogs Fitzcarraldo tells the story of a man with almost superhuman ambitions. Ironically in filming the movie, Herzog himself displayed an obsession with achieving the same unthinkable goal moving a boat across a mountain. This project will examine the parallels between the outrageous feats accomplished both on screen and off, while simultaneously putting the film in the historical context of the Amazon rubber boom at the end of the 19th century. By looking at the contrast between the final film, the production, and the historical context, one may hope to gain an insight into the mind of this most interesting director.
KlareLn, Peter F., 1938- . Peru : society and nationhood in the Andes / Peter Flindell KlareLn. 0195069277 (cloth) series New York : Oxford University Press, 2000.
Call#: Van Pelt Library F3431 .K53 2000
Call#: Van Pelt Library F3431 .K53 2000
Chapter 8, entitled “The Aristocratic Republic: 1895-1919” gives an overview of the time period in Peruvian history. Viewed as a period of stability, the country entered a period of modernization and economic growth. After foreign investment slowed, domestic investment grew, prompting the growth of local manufacturing. Mining and textiles were two large industries that grew in the period. Foreign immigrants, particularly from Italy established some smaller manufacturing firms. During this period, the financial system of Peru greatly matured. While the economy advanced greatly, a paternalistic government maintained power in which only the literate could vote - hence the name “Aristocratic Republic.” The rubber boom had little connection to the rest of the economy during that time, triggered by growth in international demand. Beginning in the 1880s, rubber became to become an important sector in Brazil and the Peruvian Amazon. The boom came with huge profits as rubber came to be 30% of Peru’s exports by 1912. Iquitos went from a population of 200 in 1851 to 20,000 by 1914. The rubber boom ended, however during World War I as plantations began to producer rubber more cheaply in Asia. The author mentions Carlos Fitzcarrald as one of the wealthiest rubber barons. Additionally the boom “did help to perpetuate the myth of an Amazonian El Dorado of hidden potential wealth and resources.”
In looking at social structures at the time, one finds that the oligarchical system of government in Lima parallels the emergence of a class of wealthy rubber barons that Herzog portrays in Fitzcarraldo. The rubber boom, while separated from the rest of the economy falls into a period of growth in Peru, making the growth in the Amazon similar to that of the rest of the county. By knowing the rest of the political and economic climate of turn of the century Peru, one can understand why so many foreigners had come to be in Peru at the time. One can also better understand why the fictional Fitzcarraldo stayed in Peru after the failure of his railroad. Lastly the perpetuation of the myth of an Amazonian El Dorado likely influenced Herzog in his decision to film there, particularly in his earlier film Aguirre.
In looking at social structures at the time, one finds that the oligarchical system of government in Lima parallels the emergence of a class of wealthy rubber barons that Herzog portrays in Fitzcarraldo. The rubber boom, while separated from the rest of the economy falls into a period of growth in Peru, making the growth in the Amazon similar to that of the rest of the county. By knowing the rest of the political and economic climate of turn of the century Peru, one can understand why so many foreigners had come to be in Peru at the time. One can also better understand why the fictional Fitzcarraldo stayed in Peru after the failure of his railroad. Lastly the perpetuation of the myth of an Amazonian El Dorado likely influenced Herzog in his decision to film there, particularly in his earlier film Aguirre.
Arthur, Paul. “In Dreams Begin Responsibilities.” The Criterion Collection: Burden of Dreams (2005). <http://www.criterion.com/asp/release.asp?id=287&eid=415§ion=essay> [cited 8 April 2008].
This essay discusses the documentary Burden of Dreams, which follows the four-year long production of Fitzcarraldo. Arthur argues that the film acts as a counterweight to Herzog’s fanatical view of the world. For example when Herzog obsesses over the “obscenity” of the jungle, Blank cuts to beautiful images of the natural state of the jungle. The essay also offers insights into the production of the film, involving total isolation of the crew in the Amazon, sending a riverboat he used down a series of rapids with the crew onboard, and the use of large numbers of local tribesmen. Lastly, the paper touches on how the filming of the movie in many ways paralleled the story being filmed.
In watching Fitzcarraldo and hearing Herzog’s perspective, one often loses track of exactly how outrageous of feat the filming of the movie actually was. The paper hints at but never fully explains the irony in the fact that Fitzcarraldo tells the story of a crazed European adventurer who goes into the Peruvian Amazon to accomplish a monumental feat, and Herzog, also crazed European adventurer, does precisely the same thing in order to film the movie. The paper does seem, however, to degrade Fitzcarraldo, making it seem almost like an adventurous folly whose greatest achievement was the production of Burden of Dreams. While the latter may be a superb, even revolutionary documentary, Fitzcarraldo remains an incredible cinematic achievement unworthy of the negative tone Arthur takes towards it.
This essay discusses the documentary Burden of Dreams, which follows the four-year long production of Fitzcarraldo. Arthur argues that the film acts as a counterweight to Herzog’s fanatical view of the world. For example when Herzog obsesses over the “obscenity” of the jungle, Blank cuts to beautiful images of the natural state of the jungle. The essay also offers insights into the production of the film, involving total isolation of the crew in the Amazon, sending a riverboat he used down a series of rapids with the crew onboard, and the use of large numbers of local tribesmen. Lastly, the paper touches on how the filming of the movie in many ways paralleled the story being filmed.
In watching Fitzcarraldo and hearing Herzog’s perspective, one often loses track of exactly how outrageous of feat the filming of the movie actually was. The paper hints at but never fully explains the irony in the fact that Fitzcarraldo tells the story of a crazed European adventurer who goes into the Peruvian Amazon to accomplish a monumental feat, and Herzog, also crazed European adventurer, does precisely the same thing in order to film the movie. The paper does seem, however, to degrade Fitzcarraldo, making it seem almost like an adventurous folly whose greatest achievement was the production of Burden of Dreams. While the latter may be a superb, even revolutionary documentary, Fitzcarraldo remains an incredible cinematic achievement unworthy of the negative tone Arthur takes towards it.
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tagged burden_of_dreams essay fitzcarraldo herzog peru by koplan ...on 08-APR-08
tagged burden_of_dreams essay fitzcarraldo herzog peru by koplan ...on 08-APR-08