Aguirre: The Wrath of God (1972) 720p YIFY Movie

Aguirre: The Wrath of God (1972)

Aguirre, der Zorn Gottes is a movie starring Klaus Kinski, Ruy Guerra, and Helena Rojo. In the 16th century, the ruthless and insane Don Lope de Aguirre leads a Spanish expedition in search of El Dorado.

IMDB: 8.03 Likes

  • Genre: Adventure | Biography
  • Quality: 720p
  • Size: 793.81M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 93
  • IMDB Rating: 8.0/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 25

The Synopsis for Aguirre: The Wrath of God (1972) 720p

A few decades after the destruction of the Inca empire, a Spanish expedition leaves the mountains of Peru and goes down the Amazon river in search of gold and wealth. Soon, they come across great difficulties and Don Aguirres, a ruthless man who cares only about riches, becomes their leader. But will his quest lead them to "the golden city", or to certain destruction?


The Director and Players for Aguirre: The Wrath of God (1972) 720p

[Role:]Del Negro
[Role:]Helena Rojo
[Role:]Ruy Guerra
[Role:]Klaus Kinski
[Role:Director]Werner Herzog


The Reviews for Aguirre: The Wrath of God (1972) 720p


Unquestionably my favourite film of all timeReviewed bytomgillespie2002Vote: 10/10

Werner Herzog quickly establishes the gaping void between civilised man and nature in his 1972 masterpiece Aguirre, the Wrath of God, with the sight of an expedition navigating a path down the side of a mountain in the Andes. They scuttle like ants, carrying objects unsuitable for such a perilous journey through the harshest of rain forests - a sedan chair, a huge cannon - and are adorned in sweltering metal armour, complete with helmets and weapons. This is the opening scene, and the message clear - these people simply should not be there, and whatever riches or glory they seek will surely result in death. Backed by Popol Vuh's haunting score, it is one of the finest shots in the history of cinema.

The filming of The Wrath of God is possibly as well-known as the film itself, with stories of poor planning, severe injuries, and leading man Klaus Kinski's generally disruptive and psychopathic behaviour emerging from the cast and crew after the film's release. Yet while a chaotic shoot can result in disaster for the finished product, every now and then a masterpiece will be born from the rubble - just look at Apocalypse Now (1979). And Herzog's first of five collaborations with Kinski is precisely that; a glorious, brutal and completely absorbing depiction of madness and greed that benefits from the bizarre happenings behind the scenes. Set in 1560, the film tells the story of the ill-fated expedition led by Gonzalo Pizarro (Alejandro Repulles) to find the fabled land of El Dorado.

Accompanied by a band of Spanish conquerors and a hundred Indian slaves, Pizarro soon realises that his expedition will soon be cut short by a lack of food, water and supplies and orders a smaller group of approximately 40 men to carry on with the search. He puts Don Pedro de Ursua (Ruy Guerra) in charge, with the maniacal but efficient Don Lope de Aguirre (Kinski) as his second-in-command. With them they take the fat representative of the Royal House of Spain, Don Fernando de Guzman (Peter Berling), Brother Gaspar de Carvajal (Del Negro), and, against Pizarro's wishes, Ursua's mistress Inez (Helen Rojo) and Aguirre's daughter Flores (Cecilia Rivera). The quest is soon in trouble, as one of their rafts is swept away by perilous rapids and Aguirre quickly overthrows Ursua, seating de Guzman in his place.

Herzog isn't interested in peppering the film with set-pieces. The Wrath of God moves along at a slow pace with not much happening for long periods of time, while the rainforest lurks all around the screen, proving itself to be a formidable and unpredictable presence. The German auteur has said before that there is nothing peaceful about nature, and here the eerie silence is frequently interrupted by the high shrill of some unseen animal. As the group journey further into the harsh terrain, their decreasing mental state starts to reflect their surroundings. They drift along the river in a raft made by slaves (the natives made them for the film), and occasionally come across an Indian. Brother Carvajal is there to spread the word of God and offers one a Bible. When he puts to his ear and wonders why it doesn't talk, he is put to death for blasphemy.

Nature, including humanity, is madness itself, and this message is hammered home further by the wide-eyed performance of Klaus Kinski, who was clearly mad himself. His spats with Herzog are the stuff of legend, and anyone with an interest should check out Herzog's documentary on his relationship with Kinski, My Best Fiend (1999). During the filming of The Wrath of God, he shot at some extras keeping him awake, removing the tip of one of their fingers in the process, and hit a cast member so hard with his sword that he still bares the scar (the incident can be seen in the film when they attack the village). Never has a film affected me, mentally and spiritually, with such power. In the final scene, Aguirre mutters to himself on board his tattered raft as some monkeys invade the screen. Herzog transports you there, and leaves you questioning the sanity of the world around you. Unquestionably my favourite film of all time.

Brilliant, beautiful and desperately disturbingReviewed bymstomasoVote: 10/10

Werner Herzog and Klaus Kinski's masterful achievement - Aguirre: The Wrath of God (Aguirre, der Zorn Gottes) is a rich and powerful film set deep in the the South American rain forest. Ostensibly a piece of historical fiction based on fragmentary evidence concerning one of the many ill-fated attempts to find and conquer the mythic El Dorado (a city of gold rumored to be anywhere from southern Canada to Patagonia), Aguirre operates on so many levels and reflects so many aspects of its story that it is difficult to convey precisely what the film is really about. It is too fictionalized (yet plausible) to fit comfortably in the "historical fiction" shoebox; the dialog is as much a presentistic bit of reflexive thinking as it is fitting for the historical context of the film; and the setting is so breathtaking that without a plot and without the brilliant concept and fantastic acting, the film would still be breathtaking and painful.

The opening scene, which very slowly depicts a caravan of Spanish soldiers, African and South American Indian slaves, burros, horses, cannons, and provisions making their way down a steep mountain path surrounded by miles of rain forest, is breathtaking and ominous, and sets not just the tone, but the pace of the film. Many people will find the pace a little too slow to handle. After a few minutes of struggle, the nobleman leader of the expedition throws in, and appoints a small number of participants to go forward into the jungle. Of these, only Lope Del Aguirre, a career soldier with vast ruthless ambition, and Ursua, a more gentle nobleman, are really leadership material. As the party floats down-river on rafts, it rapidly becomes clear by whose will the party continues on, and who will emerge as its sole leader in the end.

Herzog develops some of his usual themes in this film, and does so with poignancy and cinematography nothing short of beauty. The film is about power, madness, religion, oppression, nature, and culture, but certainly does not stop there. This is film as high art. Brilliantly executed, multi-faceted, moving, and as ambiguous as real life so often is.

This is also one of the great actor Klaus Kinski's most profound and appealing roles. Though Kinski was later typecast in mad, or at least eccentric, roles, as Aguirre he is able to show his range very effectively - because the character varies from a cold, brooding, Machiavellian rationalism to an obsessive sociopathic suicidalism. The rest of the cast rises to the challenge and acts right at Kinski's level, making this film one of the best actors/production team collaborations I have ever seen.

This film is definitely not for everybody, it is a long, slow sip of delicious and yet bitter wine which the typical movie-goer will only appreciate when 'in the mood' for something which requires thought and energy to watch. It is also one of my favorite films of all time.

A crowning achievement for Herzog, Kinski and German cinemaReviewed byTheLittleSongbirdVote: 10/10

German director Werner Herzog is one talented film-maker, with some of his films among the finest of German cinema. Meanwhile, one of his most frequent collaborators Klaus Kinski was a somewhat larger than life actor in terms of screen presence with a seamlessly commanding if at times wild style of acting.

Having heard nothing but good things about 'Aguirre Wrath of God' and finally getting back on track with my film watching, it was at long last viewed. Whether it is the best Herzog/Kinski collaboration is up for debate, to me it's among the best. It is still a crowning achievement for both Herzog and Kinski and a fine example of German cinema. No matter how much it has divided audiences it cannot be denied how much effort went into 'Aguirre Wrath of God', especially with its troubled production behind the scenes.

'Aguirre Wrath of God' is quite brilliantly made. The cinematography and editing may not be some people's definition of "beautiful, but they are still impeccably crafted and enhance the harrowing atmosphere magnificently. Every bit as impressive is the locations and how they are used. Having real life locations rather than studio sets gave the film so much realism, and they are both stunning and atmospheric. The music is sometimes sparse but when used pretty haunting.

Typically Herzog directs splendidly, delivering on the substance as well as the style. The script is largely improvisational but it is remarkable that it still flowed surprisingly well. 'Aguirre Wrath of God' is not a long film and it's paced in a way that while deliberate and nuanced one never feels every second or minute. Instead if in the right mood or taking the film for what it is and what it set out to do one gets swept up by the shocking power and poignancy of what is depicted.

On top of all this, the acting is remarkable, considering the conditions and that the script was written in haste and apparently the actors weren't even permitted to see it, let alone read it. There is not a single weak performance but it is Kinski who dominates the cast and the film, a powerful and chilling performances that burns long in the memory. Not a subtle performance by any stretch but the role (which is a deliberately eccentric one, a trademark of Herzog being having eccentric character in difficult conditions) and the film didn't call for subtlety really.

In conclusion, a crowning achievement in every regard. 10/10 Bethany Cox

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