with the voice of caruso
by Douglas Messerli
Werner Herzog (screenwriter and
director) Fitzcarraldo / 1982
Based on true life adventures of the Peruvian rubber baron, Carlos Fitzcarrald, Werner Herzog’s epic opera tale is almost overwhelmed by its own back story. In real life, Fitzcarrald bought a parcel of rubber trees straddling the Ucayali River which was unreachable because of dangerous rapids, but set off upstream on the Pachitea River, a secondary Amazon tributary, that flowed only several hundred meters beyond the Ucalian river, where he dismantled his 30-ton ship, carrying it with natives over the mountain, whereupon he set it up again. In Herzog’s film, the director used a 320-ton steamer, linking it to pulleys while steaming uphill over the mountain to the second tributary—a nearly impossible task which brought Herzog to describe himself as the “Conquistador of the Useless.”
The original Fitzcarraldo was to be played by Jason Robards, with Mick
Jagger as a secondary character, but Robards fell ill from dysentery and was
able to complete the project and Jagger left the venture for a tour with the
Rolling Stones, forcing Herzog to start over filming from the beginning, this
time with the irascible and self-destructive Klaus Kinski, who some natives
seriously offered to kill if Herzog would agree to it.
By comparison, the film’s events, beautifully filled by cinematographer
Thomas Mauch, look more like a picnic. But, obviously, the real turmoil of the
shooting is what helps to make the film so monumental. When the film’s
dangerous Amazonia natives threaten the ship and its denizens, we realize that
the actor-natives were, in fact, playing out some of their hate of Kinski.
Fitzcarraldo, quite simply, represents the acts of a madman, the
character simply standing in for the mad machinations of the director. A
failure in his last business venture, the creation of Trans-Andrean railways,
the dreamer hero finds himself in the backwater town of Iqauitos, in love with
the local beauty, Molly (Claudia Cardinale), the owner of the town’s successful
brothel. His only other cohorts are the several village children, who love his
offers of free
The film begins with a hurried journey to another Peruvian city via a
small rowboat, with Molly in hand, to see Caruso—a trip that has taken him
several days and has resulted in lacerations of his hand. The couple does not
even have a ticket to the gala event, which is nearly over by the time they
reach the opera house, but they find a way to wheedle themselves in for the
final moments of the opera and tell the opera house manager of their plans to
build such a grand palace in Iqauitos.
The opera house manager and the citizens of Iquitos perceive
Fitzcarraldo for what he is, a kind of lunatic. But, we realize along with
Molly, that it is often the unconquerable spirits of such truly crazed individuals
who accomplish what might never otherwise be. And Molly, clearly in love with
her crazy suitor is willing to bankroll his rubber land venture and helps him
to buy the huge boat. Fitzcarraldo, along with an experienced, if slightly
near-sighted Captain (Paul Hittscher) even manages to gather a crew, including
the wily but traitorous Cholo (Migues Ángel Fuentes) and a perpetually drunken
cook, Huerequeque (Huerequeque Enrique Bohórquez), who insists on two women
assistant chefs. The other men he finds for the trip are tough sailors, all
fairly handy with guns and aware of the dangers of the trip.
The unstoppable Fitzcarraldo, however, offers his increasingly hostile
enemies the only thing he has to give: his operatic love, playing out Caruso’s
voice on his wind-up gramophone, which so awes the pipe-playing natives that,
as they close in, they not only allow the men to live but feed them and sign
themselves on to the trip.
They continue upstream with good cheer until they discover
Fitzcarraldo’s insane plan to move the ship over the mountain. But even here,
the audacity of the event elicits their help, until the ship falls backwards
down the slippery hill, killing one of their own. The natives disappear, but
eventually return, clearly with some reservations. When Huerequeque suggests
they use the boat’s engine along with the pulleys, however, the trip up the
mountains resumes, miraculously ending with the boat slipping down, like a
thirsty elephant, into the Pachitea. A drunken celebration follows, at which
the boat’s original crew members pass out. Late in the night the head of the
natives cuts the boat’s securing rope to appease the river gods, sending it
downstream in a mad fall into the rapids.
After several crashes into the rock-laden shores of the river, the boat
surprisingly survives, but the down-hearted Fitzcarraldo arrives back in
Iquitos without any rubber. He is able, however, to sell the refurbished
steamboat back to the rubber baron, and, before giving over the vessel, sends
the captain off to the distant opera house to bring back Caruso and the entire
cast to perform on its deck, finally bringing opera to the backlands.
While this truly “operatic” story may seem slow-moving at times and
highly unbelievable, we recognize that it really happened—not in the past, but
in Herzog’s cinematic present. And that very fact turns this film from a
cinematic fiction into a kind of daring cinematic act, a spectacle of
insistence that movies really matter, that they can create realities vastly
larger than life. Few directors—I am reminded of Coppola’s Apocalypse Now and Tarkovsky’s films—have dared to put so much on the line in filmmaking. And if, in
all these works there is something, at times, “over the top,” we also know that
we are seeing something we will never encounter again, and could never exist
otherwise in “real” life.
Los Angeles, August 26, 2012
Reprinted from International Cinema Review (August 2012).