The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth

Directors' Cuts

by Brad Prager

Werner Herzog is renowned for pushing the boundaries of conventional cinema, especially those between the fictional and the factual, the fantastic and the real. The Cinema of Werner Aesthetic Ecstasy and Truth is the first study in twenty years devoted entirely to an analysis of Herzog's work. It explores the director's continuing search for what he has described as 'ecstatic truth,' drawing on over thirty-five films, from the epics Wrath of God (1972) and Fitzcarraldo (1982) to innovative documentaries like Fata Morgana (1971), Lessons of Darkness (1992), and Grizzly Man (2005). Special attention is paid to Herzog's signature style of cinematic composition, his "romantic" influences, and his fascination with madmen, colonialism, and war.

Genres: Film, Nonfiction, Collections, Art, Criticism

230 pages, Kindle Edition

First published September 13, 2007

Reviews

[Curtis Anthony Bozif · Rating 4 out of 5]

I now believe that the common denominator of the universe is not harmony but chaos, hostility, and murder.

[Steev Hise · Rating 4 out of 5]

This is a great analysis of Herzog's work. Not as good as the Cronin book, "Herzog on Herzog", more academic, but still very very interesting if you really like his work, like me. Reading academic, theoretical kinds of works like this about film is also quite instructive because it keeps one aware that there are lots of interpretations and analyses possible beyond the intentions of the author, of any creative work. Prager does a pretty good job of not reaching too far beyond what Herzog's thinking probably was, but he does manage to bring to light a few troubling or problematic things about some of the films and tendencies, for instance, Herzog's treatment of war, and his representation and use of Africa.

[Justin Nickels]

There is still more Herzog cinema I need to see, but this is a great companion piece to his collection boxed set that came out several years ago. It's also always great to get a 3rd person perspective on Herzog's legacy in a critical way that isn't just lightly obsessed with his weirdness or persona.

[Liz · Rating 5 out of 5]

I am SO obsessed with Werner Herzog right now, but sadly I don't love all of his work with an equal passion: I'm obsessed with films like "Grizzly Man," and "My Best Fiend: Klaus Kinski." The latter I found to be so incredibly hilarious, I can't express how much I loved it and how hard I laughed. I love Kinski's fits, I love them, I love them. And even more, I'm deeply tickled with Herzog's positioning himself as the face of "sanity" in relation to Kinski, as many have noted, a useful mask, but perhaps not a very honest one. What an hilarious and deeply satisfying work of narrative, as always with Herzog's unreliable narration as he comments on his own life!

[Ron.K. · Rating 5 out of 5]

This is a very interesting study of Herzog the person and Herzog the director. Finishing the book is no hard task, I loved getting to know the character of this director and his points of views about not only the Cinema, but also the situation in Germany past WW2 and his attitude towards the many hard times he faced during the shooting. A must read for anyone who is interested in the Cinema. Herzog is definitely not your regular movie maker

[Rick · Rating 4 out of 5]

Never realized how many short and never-seen-in-US movies this man has made. Favorite moment: when he interviewed "one of the many" Jesus Christ impersonators in Russia - one who even had his own agent! WWJD?

[Chris S · Rating 3 out of 5]

WH hates film analysis, so was interesting to see how Prager would approach this. Was OK - mainly - useful to get info on some of the more obscure/hard to see film.

In my copy there seemed to be a printing error. The text abruptly stops on page 197. Grrrrrr.

[Eric · Rating 5 out of 5]

Interesting and up-to-date profile of Herzog.