Cobra Verde

Director Werner Herzog and actor Klaus Kinsky did many films together. They were all spectacular because of Herzogs direction and they all had an intensely insane looking leading man because of Kinskys solid performances. Cobra Verde was their last collaboration together because three years after making this film Kinsky died. He left a great legacy as an actor and Cobra Verde is a prime example of that.

The story is about Francisco Manuel (aka the Bandit of Cobra Verde) a bandit who goes from town to town looking for a strange new world. Basically everyone fears him because he is untamable, like a wild beast. One day, he gets a job taking care of slaves in a Sugar Cane field and he gets to live in the same house as his boss, the owner of the fields. Cobra Verde being the bandit that he is has his way with not one, but all three of the bosses daughters and gets them pregnant. The boss, looking for a way to get back at Cobra Verde for what he did, sends him on a mission to Africa to buy more slaves. Of course the bosses real intentions are to get Cobra Verde killed in the journey. What they don't know is that Cobra Verde is not a person who easily gives up and hes a tough cookie to kill. And so begins Cobra Verdes journey into the hot, deadly and colorful depths of Africa.

This movie, like many of Herzogs films is a journey into the unknown. I love how Herzog does that in all his films. Transporting us to strange places that truly exist, but are so wondrous and amazing that they have a surreal dreamlike feel to them. On Fitzcarraldo and Aguirre we went deep into the Amazonian Jungle, but on Cobra Verde we get to see the heart and soul of Africa. Once the movie gets to Africa (on its second half) things get really interesting and you will find yourselves completely immersed in the African culture. From the injustices of slavery to the savagery of African tribes. It was all new, strange and different to me because Herzog really went in there and found incredible real life locations in which to shoot Cobra Verde. Its as if Herzog searches out these incredible places, dives deep into them, and then brings them back to us via his films for us to enjoy.

This movie is epic in scale and it shows in every single frame of film. We get hundreds of extras in many scenes. One particular scene stood out and its the one in which Kinsky trains hundreds of African women all dressed in their war attire and marching while singing their war songs. It was fantastic and epic and I loved every second of it. Not only that but its even more amazing when I learned that this huge looking film only cost two million dollars to make! I was unaware that a film of such grand scale could be made with so little money. Hollywood could learn a thing or two from Herzogs style of film-making.

Klaus Kinsky once again turns in an intense performance as the titular character. He certainly goes in a journey from being a bandit to becoming the king of an African tribe. I really got to like his character because he is a guy who literally does what he wants and has complete freedom over what to do with his life. Nobody tells this guy what to do, but once he sets his sites on achieving a goal (and its usually something pretty daunting) he goes all the way to make it happen.

Even when he accepts the responsibilities and challenges involved in going to Africa and taking slaves back to Brazil considering that slavery is almost completely abolished, he does it with a sure hand, ready to face whatever situations life might hurl at him. And Kinsky does all this with his own brand style, that crazy look the wild hair. In one particular scene in which he is training thousands of African women to go to war he goes completely ballistic trying to teach them how to properly handle a shield and a spear.

I've got a few complaints though, this movie has a few loopholes and unrealistic situations. I think a lot of it has to do with Herzog trying to evoke a feeling of otherworldliness and strangeness but in one particular scene Cobra Verde has to send a message from on place to another and he does it via thousands of people standing in line doing these secret signals with white flags and one person duplicates the message until it reaches the other person hundreds of miles away. This scene might lend itself for a beautiful and strange image, but its completely unrealistic! But I was willing to let it go for sake of artistic liberty. Another thing that grated me the wrong way was how one of the African kings spoke perfect English, as well as all his followers. The scene would have been a lot more believable with the king having a translator, but as it was filmed, its hard to believe that a king in the middle of Africa would speak English, and much less have all his thousands of followers understand him and cheer him. Again, a minor set back in a great film.

Like many of Herzogs films, the pace is sometimes slow, but when Herzog wants to amaze you he will. There will be moments of heavy dialog, and slow situations and then Whamo! Herzog will hit you in the head with something truly amazing. Trust me on this, this movie has many surprises up its sleeves! And you wont be disappointed if you enjoy movies that take you to strange new worlds.

Rating: 4 out of 5

Sarcastic humor for fans of the darkside: Surprise surprise. Herzog makes a film about a man consumed by his dreams and destroyed by the conspiracies of world he lives in. And in a complete reversal from his usual light hearted comedy roles, Klaus Kinski protrays a madman getting madder.

If you liked Agirre or Fitzcaraldo, and would have liked a larger cast including Amazon warrior girls from Africa and National Geo graphic dancing then by all means see this. Warning: no light hearted romance, cute chimps or talking to the animals here. Surreal, dark, morality story with great acting and the best one liner in Herzog's repertoire while watching amazonian spear dancing (are you listening Joe Bob Briggs?)

Who are these women? They are our future murderesses.

Cobra Verde is the last time Kinski went mad for Herzog. He probably continued to be a raving lunatic to his end, but this was the last time something meaningful was siphoned through his madness. Herzog said that after the film was wrapped, Kinski was spent, he had given all he had to give. Kinski struggled with his delusions of grandeur in his own film Paganini, but for all intents and purposes this is the swansong. Strangely and fittingly this is reflected in the character he plays. There's colorful grim adventure in it but at its best Cobra Verde is a coming of age drama.

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.

'Cobra Verde' is at times a confusing and awkward story about a bandit who finds himself trapped within the slave trade business. What begins as a story of a feared outlaw turns out to be a story examining African cultures and the issue of slavery itself. What makes this movie more interesting than other American films slavery is that the viewer gets to see the other side of the story; the story told from an African viewpoint. International star Klaus Kinski stars a Cobra Verde. He is a feared bandit whom many people fear. When he appears in a small town, all the people runs inside their houses because they are scared to death of him. Many things are missing from Cobra Verde's past. How did he become such a feared bandit? The movie does not answer that question. Through a series of odd circumstances, he is eventually put into the slavery trade business by a group of rich aristocrats. He is sent to Africa, where it is hoped he will be killed because of the slave trade conflicts going on there. What happens is th exact opposite. He gains the trust of the African villagers and eventually trains an army to kill and enemy foe. All the while the viewers are treated to an inside look at some African customs, religions, superstitions, and society. A beautifully made film that is a little marred by changes in the sequences of the story and many things missing from the plot. Nonetheless, this film has one of the most memorable and touching death scenes I have ever seen. Bravo to Klaus Kinski.

'Cobra Verde' is a really great movie!!I was surprised because i never hear this film praised by critics.I've been an avid Herzog fan for years and even after all these years his films still have the power to shock me. there are many bizarre and stunning images in this film.It's really a fascinating movie,and would be good to use in a world history class.Klaus kinski is really great in the title role ,and Herzog's trademark visuals have never been better.Some of the visuals I found to be very disturbing,One scene in particular that is straight out of a jodorowsky film. The film has a very powerful ending that will have great impact on anyone who likes films.See it even if your not into herzog's movies.