Werner Herzog was in the seventies togeteher with the unforgettable Fassbinder, the alpha and the omega in the germany filmography of those film makers born at the end of the world war two.
Herzog has always been a high risk director. He liked to walk in the knife's edge in every film he made in those years.
But what Herzog got with this work fullfilled with superb cinematography, edition, casting, script, was something unbelievable.
In fact if you analyze carefully like me , that I 've seen all his following works, it's useless to state this is the masterpiece of Herzog, even Fitzcarraldo, filmed also with Kinski years after.
The powerful script with the Amazonas river as natural frame, the huge realism in that overpower sequence in the river with those men who are caught in circles night and day, that amazing answer who gives the priest as request to Don Pedr de Ursua when he repplies: You'll know that the church has been always with the power, such answer in the midle of the jungle, the trip around the river and the progressive growing of emotional euphoria, the madness, the sense of gretaness in the midle of nowhere, the slow decay of the reality and the final fall with monkees as his loyal servants, the work of camera , makes that film sublime, unique and one of the most supreme examples of how to make a film now and ever.
If you stiil haven't seen this movie, don't waste just any minute of your time and buy it. You'll see like me at least twenty five times and will get always something new, so typical of the masterpieces.
Kinski , in the peak of his craft. There were not enough prizes in the world enough worthy to gratify this performing.