From 1972 to 1987, German director Werner Herzog and actor Klaus Kinski created five different films that were both brilliant and catastrophic. After Kinski's death in November 1991, it was an end of an era despite Herzog's love-hate relationship towards the actor. After his final collaboration with Kinski for 1987's Cobra Verde that proved to be troubling, Herzog ended his collaboration where throughout the 1990s, Herzog went into documentaries and his work in feature films became less and less. In 1999, Herzog made another documentary for European television chronicling his troubling yet inspired collaboration with Kinski called Mein Liebster Fiend (My Best Fiend). The documentary reveals the films the duo made together like Aguirre, the Wrath of God, Nosferatu, Woyzeck, Fitzcarraldo, and Cobra Verde. With interviews from former co-stars like Claudia Cardinale, Eva Mattes, and Justo Gonzalez along with various crew members. Mein Liebster Fiend is an insightful, troubling documentary into one of cinema's most passionate and chaotic collaborations.

In the 1950s when Herzog was only 13-years old, he was living in a small room in a big apartment with his mother and two brothers. In that same apartment was an actor named Klaus Kinski. Many years later in the late 90s, Herzog revisits the apartment in Munich where its owned by a couple and it's now transformed into a big condo of sorts. Talking with the couple, Herzog reveals that one day, Kinski was stuck in the bathroom for two hours as he trains himself to act and would often act strangely around a group of people in the apartment building that were full of artists. Many years later when Herzog was just an up-and-coming film director of the German New Wave in the early 70s, he wrote a script called Aguirre, the Wrath of God. Around that same time, Kinski was on a tour in Europe playing Jesus in a rendition of Jesus Christ Superstar and raving where the script for Herzog's new film reached Kinski and they would mark the first of their five tumultuous, ambitious collaborations.

Herzog revisits the rivers where he shot both Aguirre and 1982's Fitzcarraldo where recalled having two problems in making Aguirre. The first was that the film was shot in a small budget with people not believing it would be see. The second was Kinski where Herzog talks with one of the actors, Justo Gonzalez as he recalled Kinski's violent behaviors during the shoot. Gonzalez revealed that in one scene during the film where Kinski hits his helmet with a sword, in which Gonzalez revealed an old scar in his head. Yet, if Gonzalez hadn't worn that helmet, he would've died. Despite the tension and everything that went on, the film became a success as Herzog reveals more of Kinski's personality in the banks of the river during dry season where it wasn't as intense. He reveals that Kinski would tend to be afraid of things like wasps and stuff.

The next collaboration for 1979's Nosferatu, Phantom der Nacht was briefly mentioned in few scenes to convey the range of Kinski's drive as an actor, Herzog reveals the contents in Kinski's biography where he discussed Kinski making the book to feature several, fictional ideas just to make the book sell more. Shortly after finishing Nosferatu, Herzog and Kinski collaborated again for a film version of Woyzeck that also starred Herzog's then-second wife Eva Mattes. Going back to the Czech town where they filmed the movie, Herzog and Mattes recounts the professionalism Kinski had despite being a bit exhausted. Mattes reveals the sweetness of Kinski where after the last day of shooting, she was saddened by the fact that it was over. It was Kinski who comforted her in a rare moment that they connected. Mattes also recalled how supportive he was in the 1979 Cannes Film Festival, which she won a Best Supporting Actress prize, while he revealed his modesty in not wanting awards as Herzog fondly remembers that moment with joy.

For 1982's Fitzcarraldo which was a massive and ambitious project, the film was notorious for its plot that involved a scene of dragging a steamboat on top of a mountain. The film was also shown as a documentary for Les Blank's 1982 doc Burden of Dreams where new footage is revealed that shows Kinski having a fierce, almost violent argument with production manager Walter Saxer as Herzog watches on. Herzog reveals the egomania of Kinski who wanted to be the center of attention, even moments where a man got bitten by a snake and needed medical attention. Even a moment about a plane crash the six people on board were injured and needed medical attention where they survived. Kinski was upset for the lack of attention. Herzog also reveals the differing views of nature he had with Kinski where during filming, the Indians offered Herzog to kill Kinski for him. Though Herzog admits he and Kinski made plots to kill each other, it was never taken seriously.

Talking to Fitzcarraldo co-star Claudia Cardinale in her native Italy in English. Cardinale reveals the sensitive side of Kinski where he would write notes to her and be very good to her despite warnings that he's a madman. The only time she admits seeing him go crazy was when it involved touching a kitty-like leopard. Back in Germany, photographer Beat Presser reveals the photos of Kinski and Herzog working together, especially during Fitzcarraldo, which then leads to a photo of Kinski holding a sword towards Herzog's neck on the set of 1987's Cobra Verde. For that film, it was the last one they made where Kinski had become completely beyond control as Herzog ended their collaboration as he narrates during the film's famous final shot. Herzog then reflects on his relationship with Kinski where he still has love and hatred for him with footage of the two in the 1979 Telluride Film Festival and from the set of Fitzcarraldo.

While the film will baffle audiences into why would a director like Herzog would want to work with someone like Kinski. Some will realize that the two working together makes sense since they're both nut-cases while Herzog is not so much in the film's present footage. There are scenes where Herzog returns to the locations and meet the people including extras to discuss everything that went on while looking back at the same spot where a certain part of a film was shot. There's even a scene in where Herzog reveals why he wanted to work with an actor like Kinski as he shows an old 1955 German film called Kinder, Mutter Und ein General (Children, Mother, and the General) that also starred Maximilian Schell. There's a moment,in which, Herzog is transfixed in a scene featuring Kinski. While the doc's tender moments including the film's ending is wonderful, it's still a bit overshadowed by the drama of Kinski and his troubling behavior. Especially since the film also features Kinski's voice through recorded audio in all of his energetic anger, where at one point during Aguirre. Kinski demands for the film to be shot in the same way like Brecht and David Lean while Herzog replies that he doesn't care for either of those men.

It's the drama and Herzog's depiction of his late collaborator that brings both excitement and sadness. Though Herzog is willing to put himself on the line as an egomaniac, he admits it and isn't afraid to show himself in all of his flaws. Though the film is a bit flawed due to pacing, it is wonderfully handled by Herzog in how he tells the story. Particularly through the editing of Joe Bini who cuts a lot of footage and moments in parts of the film to reveal the brilliance and folly of their collaborations as well as how Eva Mattes and Claudia Cardinale reflect on a few scenes they had with Kinski. Cameraman Peter Zeitlinger does great work following Herzog through the locations he's filmed in as well as the interviews to reveal the professionalism and ease he has during the interviews. Longtime composers Popol Vuh bring back the same, atmospheric scores of their work in some of the films they did with Herzog including an angelic piece for the film's final moments.

While it's not perfect, Mein Liebster Fiend is still a fascinating documentary from Werner Herzog in revealing the tense collaboration with the late Klaus Kinski. While it serves as a nice introduction to their work, it's best to start with Aguirre, the Wrath of God while going through their other films. Fans of Klaus Kinski won't be surprised into his complex behavior though they'll be entertained in what he reveals to himself. In the end, Mein Liebster Fiend is a fitting tribute/hate mail to Klaus Kinski from the always tempermental Werner Herzog.

Werner Herzog Reviews:

Invincible (2001):

(Coming Soon)

Grizzly Man (2005):

(Coming in January 2008)

Rescue Dawn (2006):

http://www.epinions.com/content_408676961924

Herzog-Kinski:

Aguirre, the Wrath of God (1972):

http://www.epinions.com/content_300303748740

Nosferatu, Phantom der Nacht (1979):

http://www.epinions.com/content_301492964996

Woyzeck (1979):

http://www.epinions.com/content_303925792388

Fitzcarraldo (1982):

http://www.epinions.com/content_306266148484

Cobra Verde (1987):

http://www.epinions.com/content_310345174660

Herzog-Kinski Collection Box Set (2002):

http://www.epinions.com/content_313239047812

Related Review:

Burden of Dreams (1982):

http://www.epinions.com/content_307413159556


Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good for Groups
Suitability For Children: Suitable for Children Age 13 and Older