Jose Femin Fitzcarardo is a rubber tycoon who lived in the nineteenth century at the turn of the twentieth century. He has a team of five thousand people and a territory the size of Belgium. In the real history, Fitzcarardo is just a black-hearted businessman. He is no different from the nouveau riche who made colonial wealth in South America at that time, but there is one thing that attracted Herzog: Fitzcarardo was in A ship was dismantled by the river bank, and then transported by land to the adjacent parallel river and reassembled. But this ship in real history is much smaller than the steamship in the film, and Fitzcarardo disassembled it, while the film is completely dragged across the mountains. The investor in this film is the investor in "The Wrath", and Klaus Kinsky has once again played the leading role, and the film itself also has a certain relationship with "The Wrath". The collision process between history and Herzog’s inspiration also shows that in Herzog’s film world, the symbolic role of historical events as symbols is far greater than the role of dramatic tension in the story itself. Separating the Fitzcarando in the film from the Fitzcarando in the real history is equivalent to distinguishing the son of modernity that conforms to modernity and the son of anti-modernity: both are the products of modernity, the real Fitz Calado is just like the fat-headed greedy businessmen in the film, making money with the trend; but this anti-modern Fitzcarado is an out-and-out figure on the fringe. Although he is in the period of rising capitalism, he has to use his own His body logic rebelled against capital logic-he was an out-and-out "marginal modern man." As a marginal modern man, Fitzcarardo’s first manifestation of anti-modernity was to ignore a very important factor of modernity: material determinism. Although one of the prerequisites of modernity is human first, everything must be attributed to human "research". But without God's and charming "all things", our research can only rely on their so-called "laws" found through induction or deduction, and cannot get rid of the brutal methodology of this material "law". But Fitzcarardo ignored this premise. His first appearance declared his "marginal modern" identity: disheveled, madly ran to watch Caruso's concert, so that the door guard was not allowed to sit and watch. The relationship between Fitzcarardo and the colonial merchants and the relationship between him and the primitive Indians is very interesting: among these merchants, he is an out-and-out alternative, and his enthusiasm for Caruso Not only was he not understood by those merchants, but even ridiculed by them. At the banquet, he even asked the "dog cook to cook for him." In front of the Indians, he conquered them with Caruso's music. A group of Indian kids listened quietly around him and his gramophone, and he seemed very at ease among them. His alienation from the merchants and closeness to the Indians further highlighted his marginal modern identity. This is a basic conflict of the film (although it is not dramatic): the emotions of music are closer to primitive people who have not been immersed in civilization, and it is difficult for merchants who have undergone cold rehearsals of modern civilization to approach music. Music is a "scalar" with no value direction. This fringe modern Fitzcarando’s enthusiasm for music is a symbol of this characteristic. Value rationality is one of the characteristics of modernity, and anti-value rationality is anti-modernity. This is the second manifestation of Fitzcarando's anti-modernity. He knew that this time the ship overturned the mountain would kill people, and he even knew that the success rate of the ship was extremely low, but his paranoia still wanted him to go. "I have a dream to build a theater in a tropical rain forest." The unscrupulous way to dream is the natural enemy of value rationality, but from a historical perspective, value rationality can be said to be weak and useless. Value rationality, as a value appeal derived from modern civilization, is precisely based on too many historical facts that contradict value rationality. Fitzcarardo’s dream is glorious in the film, but not so glorious in history. This is also one of the reasons why Herzog has been criticized, that is, the reappearance of romanticism overwhelms the material reality of action. "At this point, perhaps no director has clarified the cult of romantic art in authorship so clearly: creators are exempted, and they can live outside the restraints of restraining others, which are common to most people. Time issues are separated." Creators can get immunity from works of art by virtue of their marginal and modern characteristics, and paranoias in reality can also get immunity in mental hospitals by virtue of their marginal and modern status. All kinds of atrocities can also obtain immunity in the sense of existentialism by virtue of their anti-modern identity. Just as Kojeff’s view of Hegel’s dialectics: "Reality is nothing but a life-and-death struggle between people for ridiculous goals... Since the truth of a philosophical idea depends on its realization in history. Philosophers cannot blame tyrants for ruling in the name of ideas.” It can also be said that Herzog is a film philosopher in this sense. Fitzcarado’s romanticism has obtained the double redemption of history and philosophy in this dialectical theory of existential interpretation. When the greedy businessman said to Fitzcarardo: "Aren't we all adventurers?" Fitzcarardo replied: "No, only one of us is." Fitzcarardo's haughty answer puts himself on the edge Identity draws a line from the mainstream modern identity of business people, and establishes dignity for their marginal modernity. Even these businessmen have to admit: "You are a weird person, but I like you." Although Fitzcarardo is a marginal figure, the author's setting clearly puts it at the core of truth, and beautiful women, greedy The merchants, including the crew and Indians, were fascinated by the madman who eventually went bankrupt. The "marginal" has become the mainstream, the orthodoxy, and the carrier of truth, while the mainstream and orthodoxy in civilized society have become the "marginal" at the feet of Fitzcarardo. This echoes the narrative in the Old Testament. In the "Old Testament", whether it is the king of Israel chosen by God or the last victor in the battle, he is always the smallest and weakest marginal person: Moses refused four times because he was the most unlikely candidate; David's weakness is not convincing that he will defeat the strongman; Samuel is the youngest son; and so on. Especially this is a revolution to the social customs of the eldest son inheritance system at the time: he chose Seth instead of Cain; he chose Isaac instead of Ishmael; he chose Jacob instead of Esau, and he chose Judas. Rather than rebuff. And these selected objects are also people with many shortcomings. Whether it is the weak or the small or the congenital defect, God only selects these marginalized people, which shows that the truth in religion often belongs to the marginalized people—not to mention the Russian saints who have carried forward this concept to the extreme. Stupid culture. "Edge" = "Truth". Herzog's subconsciousness may have always had such an identity. In addition, on Fitzcarado’s ship, the setting of three characters with full personalities is also very worthy of taste. One is the captain. He came to apply for the job because he is good at distinguishing the "illusions and reality" in this tropical rain forest-this is the biggest danger the crew has to face; the other is given by the cook, Hura, who also plays at the same time. As an interpreter, he is always drunk, but he does not lose his keen sense of the situation; one is a big and strong man, the most undisciplined person, with a risky nature, but when all the crew on the ship fled, He closely followed Fitzcarando, and he admired Fitzcarando the most. These three figures represent three kinds of history. The strong man represents the heroic, adventurous, and loyal qualities of classicism; the captain represents modern rationalism that strictly distinguishes fantasy and reality; and the cook is a symbol of existentialism that transcends classic and modern—he can See through everything with his drunk eyes, but he does not belong to any school, his daily state is just watching all this drunk. The captain, the brash man, and the cook together carry out his adventures around this marginal modern person, which also has a symbol: the romantic cult in the field of art will eventually conquer scientific reason and classical divinity. Just as Stevens’s poem "The Jar": "I put the jar on the top of a hill in Tennessee, and it makes the scattered wilderness centered on this hill." Fitzcarando has this kind of worship and encirclement. The magic of order, even he eventually became a god in the eyes of the Indians, this is not accidental, this is the inevitable landscape of romantic energy erupting in the Amazon basin. As mentioned above, the film can be regarded as the spiritual successor of "The Scourge", and Jinsky's chance to play this role again proves that God's will is so. If the end of "The Scourge" shows that Aguirre has become the new Messiah who has descended on this land, then this film continues to tell the story, narrating how this Messiah used his power to bring generations to generations. The primitive tribes who live here accept them as their own people. The most shocking part of the film is that Fitzcarardo played music to the forest: when everyone found that the primitive people in the forest began to attack him, Fitzcarardo did not show fear, but calmly said: "Now it's time to It's Caruso to play." Then he stood bravely on the bow and played Caruso's opera loudly towards the forest. "Now this god is not here in a canoe, but Caruso's voice." This time the Messiah gave up the artillery bombardment, and finally used his divine power to bring the Indians over, realizing true communication, serving himself, and fulfilling the will of God. This also echoes Aguirre's last words at the end of "The Scourge": "I am different from those who chase money, fame and fortune." The businessmen in the opening film belong to the latter. They may use money and guns to conquer these primitive people, but the Messiah uses the voice of God to spiritually surrender them. This time, Aguirre finally successfully landed ashore and merged with the Indians on the shore. The marginal moderns suffered contempt, insults and ultimately bankruptcy in the wolf-like modern society, but in primitive tribes he became a god, and this is where he really belongs. His dream of building an opera house in the forest is exactly his inner yearning for this ultimate place of belonging. In fact, it’s not like Herzog: “Compared with writers, musicians have a deeper influence on me.” When words are used as a tool to continuously create the complexity of the system, use this system to perceive people and the world. As the channels become more and more fragmented, only music still stubbornly assumes the role of the most direct and purest perception of man and the world in modern society. To a certain extent, music is an escape, like escaping back to Caspar House’s cellar ("Casper House Mystery") or the resting place of green ants ("Green Ants Resting Place") the same. The scene where Indians take turns touching Fitzcarardo with their hands is a parody and symbol of this primitive perception. When words, as a tool, continue to create the complexity of the system, and use this system to cut the perceptual channel between man and the world more and more finely, only music in modern society still bears the most direct responsibility for man and the world. , The purest effect of perception. To a certain extent, music is an escape, like escaping back to Caspar House’s cellar ("Casper House Mystery") or the resting place of green ants ("Green Ants Resting Place") the same. The scene where Indians take turns touching Fitzcarardo with their hands is a parody and symbol of this primitive perception. When words, as a tool, continue to create the complexity of the system, and use this system to cut the perceptual channel between man and the world more and more finely, only music in modern society still bears the most direct responsibility for man and the world. , The purest effect of perception. To a certain extent, music is an escape, like escaping back to Caspar House’s cellar ("Casper House Mystery") or the resting place of green ants ("Green Ants Resting Place") the same. The scene where Indians take turns touching Fitzcarardo with their hands is a parody and symbol of this primitive perception. When words, as a tool, continue to create the complexity of the system, and use this system to cut the perceptual channel between man and the world more and more finely, only music in modern society still bears the most direct responsibility for man and the world. , The purest effect of perception. To a certain extent, music is an escape, like escaping back to Caspar House’s cellar ("Casper House Mystery") or the resting place of green ants ("Green Ants Resting Place") the same. The scene where Indians take turns touching Fitzcarardo with their hands is a parody and symbol of this primitive perception. When words, as a tool, continue to create the complexity of the system, and use this system to cut the perceptual channel between man and the world more and more finely, only music in modern society still bears the most direct responsibility for man and the world. , The purest effect of perception. To a certain extent, music is an escape, like escaping back to Caspar House’s cellar ("Casper House Mystery") or the resting place of green ants ("Green Ants Resting Place") the same. The scene where Indians take turns touching Fitzcarardo with their hands is a parody and symbol of this primitive perception.
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