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Kinski: My Best Fiend

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German film director Werner Herzog and the late international film star, Klaus Kinski, had a deep love-hate relationship with one another. As artists, this fueled their work together and they will both be remembered primarily for their joint film efforts. Indeed, throughout the documentary made by Herzog, the one still alive, he seems to be lacking half of himself when he is onscreen. He also seems to be as much trying to reclaim the best parts of himself as much as he is trying to come to final terms with his relationship with Kinski. Unfortunately, those best parts probably died with Kinski. Each man believed the other one was mad and a megalomaniac. Certainly neither man was like a "normal" person if you recall their film work together, all of it superb but obsessed. Every time Kinski's face comes onto the screen in the documentary, I remembered how beautiful or ugly he could make himself appear. His face is one artists everywhere would love to paint, draw, sculpt... whatever. That people were drawn to him and repelled by him off-camera, in equal measure, should really come as no surprise. That he could embody both characteristics within seconds of one another before the camera defined his brilliance as an actor. I think Kinski got the better end of the deal. He lived life exactly under his own terms for 56 years and then died, apparently of natural causes, totally spent. It was probably like a regular person's living to be 100! Herzog, however, is left to go on and it is clear that he is not the artist he once was without his muse, his best fiend, Kinski. This was an absolutely fascinating film and I highly recommend it.

For those of you who consider, like me, that Werner Herzog is one of the great filmmakers of the last 30 years, MY BEST FIEND is essential. Thanks to Anchor Bay, we've already had the chance to hear Herzog commenting AGUIRRE or NOSFERATU for instance. Now, we can apprehend the strange ties of friendship that existed between the visionary director and his favorite actor.

In this documentary, Werner Herzog returns to Germany for a visit to his own mother's appartment where he met Klaus Kinski in the mid-fifties. Kinski had already a strange behaviour then, living naked in a little room with dead leaves all over the floor. Next, Herzog takes the train to Peru in order to watch again the landscapes of AGUIRRE and FITZCARRALDO and to interview indian actors of these movies. At last, he comes back to Czechoslovakia where he directed WOYZECK and NOSFERATU in 1978-1979.

The movie also presents interviews of Claudia Cardinale (Fitzcarraldo) and Eva Mattes (Woyzeck), a "behind the screen" approach of AGUIRRE and FITZCARRALDO as well as Mick Jagger's performance in the role of Fitzcarraldo before Jason Robards's illness stopped the production.

A DVD for your library.

I detect a strong streak of playful embellishment in Herzog's accounts of Klaus Kinski's childishness and egomaniacal behavior. Perhaps that's because the first time I saw Werner Herzog in front of a camera was in his own acting role in Harmony Korine's bizarre film Julien Donkey-boy, in which Herzog's ample talents for script-less bullsh*tting were showcased. In My Best Fiend, I again sense similar moments of ad-libbed fabrication while listening to Herzog's various outlandish and defaming Kinski anecdotes. Not that Herzog's penchant for hyperbole detracts from the enjoyment of the film or from the mythic proportions of his collaboration with Kinski. But, if one considers this film alongside the deprecating rendering of Herzog contained in Kinski's autobiography, one begins to suspect a mutually-mischievous game of smearing one another publicly --just a twisted sense of humor shared by two close friends. With this gonzo-documentary, Herzog prevails eternally with a post-mortem vilification of his long-time friend and artistic co-conspirator.

No doubt, Kinski was a nut. But probably more in the vein of Andy Kaufman than Caligula Caesar. The film clips from Kinski's "Jesus Speech" stage shows, documenting his unshakable adherence to character and his tantrums directed at the audience, remind me a lot of Kaufman on the pro-wrestling circuit. There's also clearly a good deal of acting involved in Kinski's other ostensibly spontaneous rages caught on film. Particularly, the footage of the actor raving maniacally on the set of Fitzcarraldo struck me as a complete put-on. It seemed almost to have been an elaborate anthropology experiment designed to observe the native tribal people's reaction to mental illness. The Indians were clearly impressed with the film crew's calm handling of the "situation", though it's telling --if Herzog is to be believed-- that they later offered to kill the madman for him. It occurred to me while watching this "behind-the-scenes" account that the entire filming of Fitzcarraldo could be regarded as such an experiment.

Herzog alludes to Kinski's womanizing prowess in deadpan comedic fashion. As he introduces one of Kinski's former leading-lady co-stars, Herzog jabs that she was the only one to say anything nice about him. The interview that follows is peppered liberally with oblique sexual insinuation.

At one point in the film, as a contemplative Herzog sits on a train (while revisiting filming locations in South America), there is a voice-over of Kinski ranting, presumably taken from one of the "Jesus Speech" shows. The subtitles indicate that Kinski is detailing the hideous fate that awaits those who commit the egregious sin of slander. How wonderfully poetic, considering the nature of this film: Herzog uses Kinski's own words to mockingly taunt him in his grave!

Perhaps the strangest part of this movie is the outtake from Fitzcarraldo, filmed before Kinski had replaced Jason Robards as the lead, complete with Mick Jagger as the goofy sidekick! Unreal. Could that be a put-on too? I really don't know what to believe anymore!

This brilliant and compelling documentary was directed (and narrated) by Werner Herzog, one of the most creative and original directors of all time. The documentary focuses on one of the best actor/director teams in the history of cinema: Werner Herzog and Klaus Kinski. They had an ofen violent love-hate "friendship", each one fueled by inner passions...and demons.

This documentary goes behind-the-scenes with some of Herzog's greatest masterpieces, like "Aguirre: the Wrath of God", "Fitzcarraldo", and "Nosferatu the Vampire", to tell how Herzog and Kinski fought and argued yet somehow managed to complete each of their films together. At one point Herzog threatened to shoot his "best friend" Kinski, and another time he contemplated firebombing Kinski's home. During the filming of "Fitzcarraldo", the native extras actually offered to kill Kinski, who was having many tantrums (one which was actually filmed and is shown in this documentary!), as a favor to Herzog. Herzog was surprised by the offer, and the native chief who made the offer was totally serious.

Yet despite their many violent confrontations, Herzog and Kinski were connected by their deep love of making meaningful movies. Although Klaus Kinski was undoubtably one of the toughest actors to work with, he was always capable (under Herzog's direction) of giving outstanding performances. Yes, Kinski was a little crazy, but so was Herzog (just was "Fitzcarraldo" for proof of that!), yet they were both artistic geniuses. This film also has interesting interviews with women who co-starred with Kinski, Claudia Cardinale and Eva Mattes that show how Kinski usually treated women much better than men.

With clips from his greatest movies accompanied by the beautiful music of Popol Vuh, this is an excellent tribute, if I can call it that, to Klaus Kinski. It is sometimes humorous, sometimes tragic, but always powerful. The final scene shows a kinder, more gentle side of Kinski that fans rarely get to see. This documentary is awesome, but I suggest you view the Herzog/Kinski films before watching this so that you'll have a better appreciation for this fine film. This is an absolute must for any fan of Werner Herzog and Klaus Kinski!

I feel as though my life would have been incomplete had I never seen this movie. Klaus's lunacy fueled by Werner's meth amphetamine dependancy are a recipe for unprecedented hilarity and hijinx. I could not stop laughing from the first frame to the inspired rolling of the credits (which in and of themselves should have been nominated for an oscar for art direction.) As a matter of fact, I have not been able to stop laughing since I saw this film (and I last saw this film 8 years ago.) Bully!!! to Werner who has created an unparalled portait of a lunatic and his love of romantic literature. If you watch the beginning of this movie and are not convinced by Klaus's portrayal of Jesus that in fact KLAUS IS THE CHRIST then I think you would not be my choice for participating in an Algerian War of Independence reenactment. More's the pity, or as Klaus would say "f$ck off with your silly stupid ugly faces of nonchalance." Genius.

From the moment the documentary "My Best Fiend" begins, you are shocked by the sight of Klaus Kinski in a live performance piece, assuming the guise of an iconoclastic Jesus Christ, who proceeds to berate, denounce and even physically challange members of the audience. It sets the tone for what is to come. Director Werner Herzog reveals their fascinating working relationship in which he manipulated Kinski's madness for the camera. Their collaboration resulted in such great movies as "Aguirre, The Wrath of God," and "Fitzcarraldo." The fights and catastrophes that occured during both of these movie shoots on the Amazon brought great performances from Kinski, demonstrating that art can be the result of two artists at war with each other. The DVD offers the option of hearing Werner Herzog's narration in German or English.

Documentaries are seldom this exciting and beautiful to watch. It doesn't matter if you have seen all these scenes before, or if you have no idea who on earth are Herzog and Kinski. You won't be able to take your eyes or ears away until it's over.

Although this delves mostly into the making of "Aguirre, the Wrath of God" and "Fitzcaraldo", you needn't know a thing about those two brilliant films to love this one. However, after you see this I guarantee you will seek out every film made by both of these tremendously gifted men (don't bother with Kinski's "Creature").

Sure, the relationship between Herzog and Kinski has always been notorious and well documented, but not from the horses mouth, and not with all these wonderful behind the scenes glimpses into the thoughts of co-stars, extra's and production people. There are some amazing and unforgettable things you will never know about these films and these people without seeing this.

It is not simply the recorded rants of a madman and his egocentric director, but a touching, scary and very deep look into the hearts and minds of two cinema giants who will be studied, disected and forever remembered.

If you've never seen the work of these men before, start here and see why you should and will want to see it all - More than once.

Footnote: See if you can find Herzog popping up in Hell in the film "What Dreams may Come".

Now, i'm as big a Herzog and Kinski lover as you are likely to find, so i expected much from this documentary. Not that i wanted the Kinski myth to be broken down, or have some great revelations about him as a human being, actor, madman, i just wanted a little more than Herzog delivers. While i like that it doesnt try to define Kinski and accepts the fact that he was undefinable, many things to many people, i found this look back to be a little lacking, a tad flat in presentation. A documentary about a force of nature like Kinski should at least electrify or fascinate like the subject did in his life. Instead, the movie is just a retread of what we have already heard a hundred times before- insane, gentle, genius, self absorbed, dangerous, caring. Maybe Kinski was such a puzzle of a man, it became impossible to nail down a mood for the film. The film doesnt have any luster or kick and ends up a welcome companion peice to the grand Kinski myth, just, not a particularly thrilling one.

In this very watchable documentary Werner Herzog pays tribute to the late Klaus Kinski, who played the lead in five of Herzog's films. This is Herzog's side of the story, of course, as Kinski is no longer around give his version.

A Peruvian actor from 'Aguirre' describes Kinski as "a diabolical character." In one memorable scene, Herzog tells a very uptight, bourgeois couple about what Kinski used to get up to in their house when he lived there in the 1950s. He once locked himself in the bathroom for two days, and smashed it up so thoroughly you could sift through it with a tennis racket. "I never thought it was possible someone could rave for 48 hours," Herzog tells the couple, who try to hide their shock and disapproval.

Kinski was a genius - an intuitive actor, highly professional when not possessed by megalomaniacal psychosis. Occasionally he even showed warmth and camaraderie.

But other times he screamed in Herzog's face for literally hours because his coffee was lukewarm. Once he fired a gun at random through the wall of a hut, shooting the thumb off another actor. Kinski's ravings were a real problem for the Amazonian Indians who starred alongside him in 'Fitzcarraldo', and they made a serious offer to Herzog to kill him. Herzog himself threatened to shoot Kinski, yet it was this very threat which wrung the amazing final scene of 'Aguirre' out of him.

One is reminded of George Orwell's essay on Salvador Dali - namely, how much bad behaviour do you tolerate in a gifted artist? In Kinski's case I would tolerate a fair bit.

Herzog ends by comparing Kinski and himself to two critical masses, dangerous to come into contact with each other. Despite (or because of) this, they created 'Fitzcarraldo' (one of the greatest films ever made), the mesmerising 'Aguirre', the incredible 'Nosferatu' remake, and two other films. Few other actors have approached the intensity of Kinski, and this documentary is a fitting tribute to him.

Far from being a character assissination & chop job on Kinski (as some reviewers would claim), Herzog's film is as much as an examination of his own obssessive drive and (albeit, much lower key) madness as it is a look back at his relationship with one of the most (by general consensus) difficult & brilliant actors in the business.

Obviously, Herzog regards Kinski as being a nut...but he all but concedes that one would have to be crazy in one's own right to continue to work with such a man, again & again. It would be nice if Herzog would discuss, in a less oblique fashion, his own driving commitment (as evidenced in "Aguirre" and "Fitzcarraldo") which helped to cause this clash of megalomaniacs, but nonetheless, the examination is there for those discerning viewers who choose to see it.

Yes, it would be nice if Kinski could have returned fire, so to speak. It also would have been less frustrating if Herzog had discussed the reasons that he finally decided to end their collaboration after "Cobra Verde." However, in the end, we have to be satisfied with what we got. It is a fascinating little slice of film history worth watching.