Micitype Pretty Good

Blucher One of the worst movies I've ever seen

Dorathen Better Late Then Never

Mabel Munoz Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

herterb The music becomes grating and overbearing as does Herzog's voice which is way paste its sell date but he is too in love with his own voice to hear that. What a waste of an opportunity. Get rid of the "scientists". Why are they in the cave getting in the way of filming the subject matter? They have to be there this one hour the are allowed to film? I wanted to experience the paintings with light approximating the moving torches that the cave painters carried. Instead we get all these concentrated bright spots from flashlight like head lamps from all these annoying scientists ruining every shot. i watched this in 2D. Someone should have told Herzog that if he had just properly and sparingly used the lights that he had we could have gotten an adequate sense of the 3 D of the cave walls from the shadows, as the film fleetingly does, if the light had moved consistently with the camera. He needed a real cinematographer with some brains and visualization ability like the cave painters had 30,000 years ago. As is all too typical, even for Victorian era architecture and furnishings, claimed in the name of science or preservation, but really to boost their importance, people with degrees always want to exclude others without the same degree from seeing things they are preserving. Why did the curator need to be there breathing on everything? Was this a condition of permission to film. She could have explained what we were seeing in voice over later and yielded her breathing damage time to the film crew but she wanted her face in the film. I thought having a boom mic operator was a waste too as was stopping the filming for a room tone type audio recording. This seem to be filmed and lit without any imagination or planning as if it was just any ol' location. Obviously the play of darkness and light coming only from moving torches influenced the way the animals were depicted. Even the scientists present, literally, and some in the future could have learned something from this if it had been lit and filmed to reproduce the way it was experienced by the cave painters.I'll take Herzog at his work that filming access may never be granted again and give him 1 star for squandering the privilege and preventing someone more capable from doing it. As a doc filmmaker over 60 I also feel embarrassed at the thought of being associated with him for that. He needs to retire now.

aetalutak throughout this film I noted many blatant lies that simply display the truth behind the entirety of the program.These paintings are clearly not from the paleolithic age and when the guy started whistling with a so called flute stuck into the corner of his mouth (watch it again it is clearly whistling). I could not contain myself and had to stop watching what I can only conclude is a farce that is stealing credit from more reliable art works (Probably for Money).If you are of the belief that these are in fact real. I can only say that you are free to your opinion. If there is any evidence to prove me wrong I would love to see it. I myself believe the entire thing to be a counterfeit.

Wendell Ricketts The images of the 30 or 40-thousand-year-old drawings inside the Grotte Chauvet are absolutely stunning, spell-binding, wondrous. If you're the sort of person who is moved and amazed by this kind of thing, then this is truly your kind of thing! What mars the documentary are three elements: 1) an almost total lack of archaeological/anthropological explanation (and I don't count the pony-tailed ex-circus juggler-turned-archaeologist who barely seems to understand Herzog's ridiculous questions and does his best to respond but still ends up sounding like a French Milhouse Van Houten; 2) a musical soundtrack that is grating, repetitive, irritating, over-the-top, inappropriate, and just plain preposterous (flights of celestial choruses drone as the camera pans over the paintings on the cave walls); and 3) Herzog's inane, pretentious, Euro-trash narration, which comes in at about the intellectual level of a thoroughly stoned junior high student. Just wait for the last few minutes when you get to the part about the albino crocodiles and see if you don't hoot with laughter. The Chauvet Cave is extraordinary; Herzog is a farce.

tieman64 A large chunk of Werner Herzog's many documentaries focuses on dwarfs, disabled or severely handicapped human beings ("Land of Silence and Darkness", "Handicapped Future" etc). These films tend to be absurdist allegories about a mankind which either triumphs or perishes in the face of what Schopenhauer called Nature's "appalling horror". Then you have Herzog's explicitly religious docs ("God's Angry Man", "Wheel of Time", "Huie's Sermon", "How Much Wood Would a Woodchuck Chuck", "Bells From The Deep" etc). These typically focus on different forms of belief (tribal mysticism, mainstream religions, capitalism-as-belief-system etc), ordering systems which, when faith in them collapses, results in the mental breakdowns of Herzog's "mad" protagonists. But for Herzog, belief is itself psychosis and those deemed madmen are but hyper-rational, often with some fantastic insight into reality.Another subset of Herzog's documentaries ("Echoes from a Somber Empire", "Happy People", "Herdsmen of the Sun", "Jag Mandir") tends to delve into different, often primitive cultures. These give way to documentaries like "World Into Music" and "Death for Five Voices", which focus on music, usually Wagner or opera. Then you have Herzog's "flying documentaries" ("The Flying Doctors of East Asia", "Wings of Hope", "Little Dieter Needs To Fly", "The Great Ecstasy of Woodcarver Steiner" and "The White Diamond"), which again hinge on frail human beings who attempt to lift themselves above a cruel and malevolent Nature. The jungles usually win, of course, leading to calamities, crashes and stark shots of vines strangling steel wreckage.Another subset of Herzog's documentaries focus on either war ("Ballad of a Little Soldier", "Lessons of Darkness") or anticipates outright the apocalyptic end of the world ("Lessons of Darkness", "Wild Blue Yonder", "Encounters at the end of the world"). For Herzog, humanity seems destined to perish and his camera often takes on the perspective of a future, almost alien archaeologist, foraging amongst the wreckage of some long extinct race.Then you have Herzog's explorer documentaries ("Wild Blue Yonder", "White Diamond", "Dark Glow of the Mountains", "Grizzly Man", "Encounters at the End of the World"), which tend to watch as scientists, adventurers or inventors embark on allegorical journeys. Here, nature is often shot so as to resemble either hellish cauldrons or religious cathedrals. Some of Herzog's explorers meet death, some succeed. Typically these men are presented as outcasts who live on the fringes of society, some stable, some unstable, some geniuses, some deeply disturbed.Whilst all of Herzog's documentaries have complex overlaps and can't be as neatly grouped as written above, all chart a broad movement away from German Romanticism, and so the sublime, to absurd, serio-comic tragedies. Or, perhaps more correctly, the majesty, awe and horror of Romanticism is itself that which puts Herzog's characters in an absurd light. Human's are tragic because they are, in Herzog terms, essentially dwarfs. Indeed, the theoretical foundation for the early German Romantics, the Schelegel Brothers' publication of Athenaeum (1798-1800), specifically listed "alienation" and "absurd irony" as the bedrocks of the new intellectual/artistic movement; German Romanticism wasn't just all about grand landscapes and tall trees.Werner Herzog's "Cave of Forgotten Dreams" centres on the Chauvet caves in Southern France, the location of a series of Paleolithic cave paintings which were once thought to be the oldest surviving paintings in the world. The film watches as various scientists (typical of Herzog, they're presented as outcasts, some even former circus workers) investigate the caves, but Herzog is more interested in the ways in which the palaeolithic world is both similar to ours, and forever unknowable. The scientists map and search, but are always alienated from the past, and so desperate to connect with and project upon it. These desires then echo those of our own, ancient cave dwelling ancestors.Much of the film's middle section watches as Herzog draws parallels between cave paintings, 3d films, cinema and the robot camera he uses for several of "Cave's" elaborate shots. Elsewhere Herzog points out that there are 5000 year gaps between some of the paintings. "This duration of time is unimaginable for us today," he says, and later implies that "we are locked in history" whilst "they were not". Our history, our time, is compressed, seemingly moving faster and faster, whilst paleolithic man seems stuck in an infinite moment. The film then launches into a subplot which describes history, not as teleology, but as a complex process with its own causalities. Herzog caps this off with the tale of an albino alligator which stares at its own reflection and which is morphed by climate changes which are themselves wrought by human activity. Humans change, adapt, mutate themselves, but are always looking backwards, back in time perhaps, at their own misconstrued reflections. The film then ends with a prehistoric palm print.Overlong and repeating things Herzog has done before, and better, "Dreams" is a mixed bag. With his doppelganger alligators – like us, the alligator is both contemporary and prehistoric – Herzog aims for the sublime, but can't quite manage. Elsewhere he attempts to imbue his caves with cathedral-like, spiritual qualities, but these moments don't quite come off. For Herzog, the cave is a temple which houses "the beginnings of the modern human soul", a temple which he hopes to fill with subdued passions and profound mystery.What works better is Herzog's dry humour. One scene, for example, features Herzog likening modern man's love for "Baywatch" with ancient sculptures, with their exaggerated hips and breasts. Maybe ancient humans were just like us; a bunch of perverts.7.9/10 - Worth one viewing.