As mentioned in other reviews and as already communicated by the film title, this documentary offers a very subjective view on Kinskis personality: Kinski as seen and as "utilized" by the director Werner Herzog. The film describes Herzogs artistic vision of filmmaking and the rough personality Kinski contributed to this mission. By doing this, it is at least a fascinating documentary about filmmaking itself.
It's obvious that Kinski with his impulsive, uncut and nearly superhuman presence that nearly blows up the screen is the prototype actor for the typical Herzog protagonist: a man whose over-individuality tears him apart from the human society and whose untamed passion only finds a metaphoric equivalent in the wild and uncivilized nature - in which he will finally collapse; well, at least in most cases.
The documentary gives impressive evident for Kinski being this ideal candidate by comparing alternate scenes from Fitzcarraldo, one with Kinski as Fitzcarraldo and one with Mick Jagger. Jagger, a charismatic wild-man on stage, ends up as a harmless milksop when compared with Kinskis furious insanity.
However, it seems that Herzog still wants to watch Kinski through the eyes of the director, not allowing too much deviation from the intended role. This becomes obvious in a short dialog with actress Eva Mattes, who describes Kinski as a polite, shy and 100% professional person. Herzogs reaction can be paraphrased as "But wasn't he also a madman?" Biographical research or psychological analysis are not the matter of this film. The reason is simple and becomes obvious during the movie: while showing some kind of "best-of-Kinski" moments, the documentary focuses more and more on Herzog himself and his mission, and in one scene Herzog will happily tell that he is a little bit insane, too.
So, his approach to this documentary is rather comparable to the great films he made with Kinski: Kinski is the headliner and catalyst for Herzogs artistic vision to accomplish the 'impossible' gesamtkunstwerk: realizing filmmaking in a hostile environment, revealing the unseen and pushing everyone involved to his individual limits.
With many unreleased flicks from film shootings and Kinski stage shows, interviews with involved actors and staff and some very intense shots (butterfly scene), this film is nevertheless highly recommendable to all Herzog / Kinski followers.
It's obvious that Kinski with his impulsive, uncut and nearly superhuman presence that nearly blows up the screen is the prototype actor for the typical Herzog protagonist: a man whose over-individuality tears him apart from the human society and whose untamed passion only finds a metaphoric equivalent in the wild and uncivilized nature - in which he will finally collapse; well, at least in most cases.
The documentary gives impressive evident for Kinski being this ideal candidate by comparing alternate scenes from Fitzcarraldo, one with Kinski as Fitzcarraldo and one with Mick Jagger. Jagger, a charismatic wild-man on stage, ends up as a harmless milksop when compared with Kinskis furious insanity.
However, it seems that Herzog still wants to watch Kinski through the eyes of the director, not allowing too much deviation from the intended role. This becomes obvious in a short dialog with actress Eva Mattes, who describes Kinski as a polite, shy and 100% professional person. Herzogs reaction can be paraphrased as "But wasn't he also a madman?" Biographical research or psychological analysis are not the matter of this film. The reason is simple and becomes obvious during the movie: while showing some kind of "best-of-Kinski" moments, the documentary focuses more and more on Herzog himself and his mission, and in one scene Herzog will happily tell that he is a little bit insane, too.
So, his approach to this documentary is rather comparable to the great films he made with Kinski: Kinski is the headliner and catalyst for Herzogs artistic vision to accomplish the 'impossible' gesamtkunstwerk: realizing filmmaking in a hostile environment, revealing the unseen and pushing everyone involved to his individual limits.
With many unreleased flicks from film shootings and Kinski stage shows, interviews with involved actors and staff and some very intense shots (butterfly scene), this film is nevertheless highly recommendable to all Herzog / Kinski followers.