If the facts are as Herzog claimed, he is connected with the "orthodox" German culture (film) through "Vampire Nosferatu", then he is connected with American movies through "Bad Lieutenant", especially American film noir has established an inseparable blood relationship. Interestingly, these two works of "significance" are both remakes. The two do not account for a large enough weight in herzog's work spectrum. They are more and more suitable as a wonderful blend of the entire pedigree.
Different from the crazy behavior of filming, when faced with genre films, herzog follows the basic guidelines of genre films, even with the original intention of "how to carry forward this genre film". He retains and promotes the "fantasy, hallucinations, dreams, nightmares, illusions, fears, and essential myths" in vampire movies, and the "gloomy, unpredictable future, "femme beauties" in the film noir, the fusion of the rule of law and crime "Features. One difference is that he deliberately paid tribute to Mornau in "Nosferatu", and declared that "Bad Lieutenant" had nothing to do with the original.
Well, let's just think that "Bad Lieutenant" has nothing to do with the original version. Given Herzog's German background, his respect for Murnau, Fritz Lang, and his incomparable love for the Midwestern United States, it seems that he is really suitable for shooting a "German Expressionist Visual Technique and American Pulp Fiction" "The sensational plot of the conflict combined" movie too. Cage and Eva Mendes drove in the red light district at night. The plot is not unique, but it is easily reminiscent of Chandler's words: "The streets are full of things darker than night." Police Officer Terence McDowell Na (Cage) is in trouble, and finally one day, he has good deeds: the case is solved, the offending clients are no longer entangled, and the gambling debt is wiped out. Such a dramatic plot is unprecedented in herzog's previous movies. The Hollywood ending of "Revisiting the Sky" in 2006 was mainly based on the factual design of the protagonist's archetype. Only when the lizard (if it is a lizard) wait for the close-up to show up Herzog's soul, but these embellishments are obviously not important. The illusion picture that matches the overall gloomy style does not necessarily have to choose a lizard. Herzog's choice is strange and not surprising.
Throughout the whole film, the film maintains herzog's rare narrative speed, and the many details echoing back and forth are rare conditions for herzog: deliberately creating dramatic conflicts. It is not a story of a loser. The ending design of the bad police makes the film an obvious satire. He is very faithful to the requirements of a genre film (American film).
It is inevitable that Herzog fans will be surprised: "This is not herzog!" And miss the era of Kinsky and Herzog together. However, Herzog’s "degeneration" made the early fans of Cage applaud: "This is the Cage!" Herzog embraced the United States, and the desolate scene in "Schuxi's Wanderings" was regarded by herzog as a treat for the United States. The Acura, then this time is not simply, it is an absolute hymn.
Decades of filming stories about mysterious jungles, characters associated with mysterious jungles, and various fanatical dreams, it seems that herzog will be filming for a lifetime; Cage has thrown away his early neuroticism over the years and has fun in a bunch of bad movies, completely disregarding his reputation. , Word-of-mouth, fans lamented, he was not tired of this, and he was surprised that the prodigal did not look back. The appearance of this film seems to be an accident, but according to their personality: never do what they want to do, this is not unexpected: this is still Herzog, and Cage has always been Cage.
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