There are things between heaven and earth, of which scientists only know the statistical percentage. What it has, but really, you’d have to ask, perhaps, “prophets and birds”. These will sometimes speak in languages (or tongues) that again the Translation. In Werner Herzog’s new Film, “Salt and Fire”, in which it is already entitled to a (new?) Doctrine of the elements, and a German scientist by the name of Laura Sommerfeld in a non-closer-called country in Latin America. She has a scientific and a social. You want to make the world to a catastrophe: “el diablo blanco”. The white devil. In a salt des ert in Bolivia, something announces itself that affects the whole planet. A misfortune, to its prevention, also observe the volcano Uturuncu. But it is a bit of a turn that the mankind (or at least the “white devil” in it) over the decades?
“Salt and Fire” begins like a Thriller, in which people from the first world make in a second or third world unpleasant experiences. At the airport, everything is different than expected. Doctor Sommerfeld, in the company of colleagues Cavani (a vain dude) and Meier (Joe), will not be picked up by a Delegation of the Ministry of agriculture, but from people specify their tasks with the always suspicious of the word “security”. The experts are kidnapped, that’s what you call it. However, soon turns out to be that it’s going to be a hostage in the traditional sense. “Negotiations will not be”, because there will be no ransom.
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the commander of The scary black men with the machine guns is not a guerrilla and not a Gangster, but a man has to do with the “white devil”. As he takes off the mask, you recognize the American actor Michael Shannon, who is now in command in this Film. He plays Matt Riley, CEO of the consortium is essential for the salinization of the earth responsible. One day the salt could cover the whole part of the world, feared Laura Sommerfeld. “The Part Of The World? The whole earth," countered Riley. “I wish, that would be just Science Fiction.”
With this prophetic Genre, “Salt and Fire”, possibly in the more distant sense, even if there are some allusions to the fact that the “Salar de Uyuni” is an ideal country would be a place for Aliens. The locomotive cemetery which is incidentally seen, suggests that the Modern must have worked well once alien.
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For Werner Herzog, for a while, as the new Herodotus (or to Hesiod) of world cinema, is the spectacular landscape is the ideal Medium to bring his partially-frills ideas to the Iridescence. The “true tragedy”, it is in fact, “if you are in front of the light be afraid,” to quote once again, Matt Riley, embodied as a backslider, Manager the bad Conscience of the capitalist-industrial complex. What he held with Laura Sommerfeld, is actually something of a Lichtkur.
He puts her in the salt desert and is joined by her two indigenous blind boys: Huascar and Atahualpa, of doctor Sommerfeld (a delightfully ambiguous, hard on all sorts of embarrassments along one of the brands of a dream role for Veronica Ferres) immediately as “the two Royal Inca brothers”. Together, they lay the ear on the salt crust, and listen to the earth its secret: it all has to do with anything. “The desire of my share of scientific instruments, disappears.”
Veronica Ferres as a German scientist Laura Sommerfeld
For Werner Herzog, founded many years ago in a movie called “Fata Morgana”, the mythological universal science, to which he comes back with “Salt and Fire”, is the Expedition to the Uturuncu is just another step in a large Survey of the world, which he takes for many years with the camera as his Instrument. If he picks up in the Arctic, the traces of a “Grizzly Man”, with a slightly balloon through the rain forest, The White Diamond swirls (“”), the people – and penguins – in the eternal ice of the South pole visits (“Encounters at the End of the World”) or in the French world, of the oldest testimonies to the humanity to visit (“cave of forgotten dreams”), always cultural theory is combined with a mischievous adventure. And if it threatens to be too serious (or seriously), it switches from the Fundamental to the Playful.
And this is how he gets even with “Salt and Fire” of the curve. What a Story fixed apocalyptic murmur looks for a long time dangerous to the makeshift, is in the end a still the Pathos is not averse, but first and foremost, cryptic comic event. The last message is an empty wheelchair, on a Magnum bottle of sparkling drives the wine to Somewhere. Of the many signs of life in the dubious genus “man” and its sub-Department, “the white devil”, collected by Werner Herzog, is not “Salt and Fire” is by no means the least.
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