A Documentary is Just a Feature Film In Disguise: An Interview with Werner Herzog

Around the time Tom Waits simultaneously released his albums Alice and Blood Money, he was regularly asked why he was putting out two titles at once? His common reply: “If yer gonna fire up the griddle, you might as well make more than one pancake.” Werner Herzog seems to have taken a cue from Waits (it’s not hard to imagine the two getting along) with the release of his first two productions in the United States since 1978’s Stroszek. The Bad Lieutenant: Port of Call New Orleans, a madman’s delusional romp and bayou fever-dream that revolves, reeling, around Nicolas Cage’s highly entertaining—even genius—performance, came out last month. It was followed yesterday by the release of My Son, My Son, What Have Ye Done, based on the true story of an adult son who kills his aged mother, running her through with a sword at the neighbor’s house before retreating back home across the street where a day-long stand-off with the police ensues.

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"Bad Lieutenant": Aesthetic Interrupted

“…I’m not doing the prequel to Aguirre: the Wrath of God, OK? Let me put it that way!”

These were the kindest words Abel Ferrara had to say about Werner Herzog’s upcoming Bad Lieutenant: Port of Call New Orleans when asked in a 2008 Filmmaker interview about that unapproved reimagining of Ferrara's 1992 cult classic, released in a special edition DVD late last month. The original film depressingly contemplates Catholicism’s uniquely potent cycle of guilt, shame, forgiveness, and redemption by following Harvey Keitel’s anonymous titular character through an explosive on-the-job spiritual crisis that leaves him flailing through a deadly and delusional self-righteous blindness: perceive slander (often imagined), accuse, rage, repeat. Ferrara's creation remains one of the most aptly (un)named characters in cinematic history.

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