Legendary filmmaker that Werner Herzog is, no two of his pictures are exactly alike; while most are truly great, not all are equal. Whether narrative fiction or documentary, whether one appreciates his style or not, I don't think there can be much argument that Herzog has a stunning vision. 'Fata Morgana,' like later feature 'The wild blue yonder,' is something slightly different, blending the two styles into what can best be described as an art film. Conceived as what extraterrestrials might see upon visiting Earth, we as viewers are treated to a bounty of the immensely beautiful yet harsh and desolate majesty of the Saharan desert, and all within and around it. This is surely all the movie needed to be to impress and inspire; in a career largely defined by a fascination with humans in all their variety and complexity, Herzog's oblique observation of even just landscapes is part and parcel discovering who people are and how we live. That we do also get looks at people, animals, and civilization, and narration that in one manner or another furthers the bent of sidelong examination of Humanity, only enriches the viewing experience. Factor in the music to greet us on the soundtrack, and the result is a light but flavorful feast for the eyes and ears.
Given the concept and construction of 'Fata Morgana,' this is rather unlikely to appeal to wide general audiences, those whose primary interest in cinema are titles with actors and stories to be told, whether drama, action, or otherwise. For such audiences, the history of this production - plagued by problems and hardships calling to mind Herzog's famous 'Aguirre, the wrath of god' - might be more actively engaging; indeed, the labor of obtaining footage for this is itself ripe for adaptation on the Silver Screen. Yet this rather has its own particular story to tell, too, does it not? Every structure, modern and ancient; every animal, living and dead; every person appearing before the camera; every rock and grain of sand - What have they seen? Where and what have they been; where will they go? Our planet is a rich tapestry of everyone and everything that has ever been a part of it, and that is perhaps the true unifying pathos of this picture: a reminder that no matter what divisions and pretensions we try to imagine for ourselves between one person and another, between people and the rest of the world around us, there is no true separation. No matter how far-flung in any variety of ways, there's inextricable kinship between all things, one shared humanity, and one place that all things call home.
Even by the standards of some of Herzog's other works, this one is rather extraordinary - that is to say, here, abstruse in the content it presents to us. It's not for nothing that I suggested this to be an art film. Some of the inclusions herein are so disparate from one another that to try to approach this with the mind that it's a typical documentary, or a typical drama, will no doubt result in bafflement and vexation. To be open to whatever it is the filmmaker may give us, however, and inviting of any tenor, is to be awed and swept away by the imagination and intelligence that invariably characterizes many if not most of the man's long list of credits, and this not least of all. 'Fata Morgana' isn't the typical movie, but then, Werner Herzog isn't the typical movie-maker. Just sit back, enjoy the ride, and find out where it takes you.
Given the concept and construction of 'Fata Morgana,' this is rather unlikely to appeal to wide general audiences, those whose primary interest in cinema are titles with actors and stories to be told, whether drama, action, or otherwise. For such audiences, the history of this production - plagued by problems and hardships calling to mind Herzog's famous 'Aguirre, the wrath of god' - might be more actively engaging; indeed, the labor of obtaining footage for this is itself ripe for adaptation on the Silver Screen. Yet this rather has its own particular story to tell, too, does it not? Every structure, modern and ancient; every animal, living and dead; every person appearing before the camera; every rock and grain of sand - What have they seen? Where and what have they been; where will they go? Our planet is a rich tapestry of everyone and everything that has ever been a part of it, and that is perhaps the true unifying pathos of this picture: a reminder that no matter what divisions and pretensions we try to imagine for ourselves between one person and another, between people and the rest of the world around us, there is no true separation. No matter how far-flung in any variety of ways, there's inextricable kinship between all things, one shared humanity, and one place that all things call home.
Even by the standards of some of Herzog's other works, this one is rather extraordinary - that is to say, here, abstruse in the content it presents to us. It's not for nothing that I suggested this to be an art film. Some of the inclusions herein are so disparate from one another that to try to approach this with the mind that it's a typical documentary, or a typical drama, will no doubt result in bafflement and vexation. To be open to whatever it is the filmmaker may give us, however, and inviting of any tenor, is to be awed and swept away by the imagination and intelligence that invariably characterizes many if not most of the man's long list of credits, and this not least of all. 'Fata Morgana' isn't the typical movie, but then, Werner Herzog isn't the typical movie-maker. Just sit back, enjoy the ride, and find out where it takes you.