Durante il 1800, il bandito brasiliano Cobra Verde viene inviato in Africa occidentale con poche truppe per presidiare un vecchio forte portoghese e convincere il sovrano africano locale a r... Leggi tuttoDurante il 1800, il bandito brasiliano Cobra Verde viene inviato in Africa occidentale con poche truppe per presidiare un vecchio forte portoghese e convincere il sovrano africano locale a riprendere la tratta degli schiavi con il Brasile.Durante il 1800, il bandito brasiliano Cobra Verde viene inviato in Africa occidentale con poche truppe per presidiare un vecchio forte portoghese e convincere il sovrano africano locale a riprendere la tratta degli schiavi con il Brasile.
- Premi
- 2 vittorie
- Bossa Ahadee
- (as His Royal Highness Nana Agyefi Kwame II of Nsein)
- Bakoko
- (as Kofi Yerenkyi)
Trama
Lo sapevi?
- QuizWerner Herzog's notoriously combative relationship with Klaus Kinski reached something of a pitch in their final collaboration. A famous picture taken onset shows Kinski attempting to throttle Herzog in front of a crowd of African extras. Herzog discusses the picture with photographer Beat Presser in the documentary Kinski, il mio nemico più caro (1999): Herzog thinks that Kinski, aware of the camera, wanted to create a dramatic moment (Presser thinks Kinski was genuinely trying to kill him). On another occasion, Kinski tried to attack Herzog with a rock.
- BlooperThe kingdom of Dahomey, where the African part of the story is allegedly set, was in present day Benin, while Elmina Castle is located in present day Ghana, 500 km to the West.
- Citazioni
Taparica: Aren't you afraid? Aren't you afraid of dying?
Francisco Manoel da Silva: I haven't tried it yet.
This slavetrader incarnation of Aguirre has matured, the waters are stiller and run deeper, he's more ambiguous, as though the delusions of grandeur have been melted away by advancing age and we're looking at a broken human being who is probably past the point of being able to be made whole again, a man who went mad at some point or other but has made his peace with his madness.
Here's a man who is a confessed criminal but not a raving monomaniac anymore like Aguirre or Fitzcarraldo; now he's the romantic who yearns "to cross over to another world". Perfect. Here's closure to a trilogy of sorts about different characters who could very well be the same person in different times.
Cobra Verde does that, it crosses over to another world, it's a glance stolen over the bulwark of a boat off the African coast and through the bushes of the savanna and now we're peering at a small village of huts and cabins and wild black men are dancing a feverish dance around a fire, they're waving sticks around them, bodies shining with sweat, their movements odious and harmonical with some of the spasmodic suspended quality of a coiled spring, and then Klaus Kinski has his face painted black by figures with horned headpieces, his face is framed by unruly blonde hair so that he looks like a demon figure straight from Japanese mythology - for the black man the devil is white. Cobra Verde is all that, it's like an ethnographic document of something that may be even partly fictional yet feels wholy true in its savagery and otherworldliness, of something that was lost and now found again, it's not Discovery Channel's version of black Africa, it's like something straight from the pages of a Joseph Conrad novel, a bit sensationalist but also very mystical, with traces of something at once horrible and wonderful.
We get echoes of Daniel Plainview at the beginning. Cobra Verde is digging for gold in Brazil, he's ruthless and vengeful. We enter an empty bar in a small pueblo owned by a midget and we get discussions about lost paradises on earth where the snow is light like feathers. Cobra Verde ambushes a palanquin and a mysterious black girl in a white dress gets out and dances a sensual dance.
Now we're on a boat off the African shore looking at a deserted slave fortress through an eyeglass, inside the fort a tattered survivor of the black militia of the fort cackles mysteriously and we enter rooms filled with bats and crabs. The movie is very stylized so far, when Kinski makes an appearance in the plaza of the pueblo with his poncho and a rifle, he looks like he stepped back into a spaghetti western for a shootout. But there are also residues of mystery and nameless rage and violence that seem to come from a different place, destruction and abandonment, and the first hour of Cobra Verde is among Herzog's finest work, because all that is kept just out of sight.
The African part of Cobra Verde is less, and maybe that is all Cobra Verde does wrong, that the mystery is peeled back and we're looking at things too much. We're looking at things too much like we're a visitor in a local tribe and the tribesmen are performing dances and chants for our benefit, they wave flags and stage fights, they crowd rooms and walk in lines. When the jungle showers down wooden arrows upon Kinski and his group in Aguirre, the attackers remain unseen. Here they're rushing out to meet us.
It's all a bit like Herzog's tribal docu Woodabe - Herdsmen of the Sun with a Kinski protagonist and a little bit of plot.
Another plot line is invoked at the last minute to make order out of the wild, something about the brother of the local king (one of the most fascinating movie characters of the decade, a man who constantly puts on a show for his people, he's parts cheeky badass, pompous buffoon, and stark raving mad) wanting to usurp the throne, and Cobra Verde leads his insurrectionist amazon army, but it's all a bit scattershot. The protagonist has matured but Cobra Verde the movie lacks Aguirre's the singleminded forward- pushing sense of a journey into the heart of darkness.
Like with most of his movies, Herzog saves the best for last - another unforgettable image of a desperate Kinski, now the alonest of the alone, trying to tug a piroge into the ocean to get away from that godforsaken African shore. A crippled black boy afflicted with polio walks towards him across the shore, then pauses and turns. Here's a tragic man alone at his end now, an outcast beyond help or reprieve or even vengeance, and now he's truly ready to cross over to another world. This is heightened reality, it is Herzog's ecstatic truth, or in his words, sometimes truth comes out clearer out of fabrication.
- chaos-rampant
- 25 lug 2010
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Lingue
- Celebre anche come
- Slave Coast
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 800.000 DEM (previsto)
- Lordo Stati Uniti e Canada
- 12.702 USD
- Fine settimana di apertura Stati Uniti e Canada
- 7.402 USD
- 25 mar 2007
- Lordo in tutto il mondo
- 12.702 USD
- Tempo di esecuzione1 ora 51 minuti
- Colore
- Proporzioni
- 1.85 : 1