In God We Trust (1980) ( In God We Tru$t ) ( Gimme That Prime Time Religion )

This was sent as a gift with Bruce Chatwin's book 'the Sultan of Ouidja'. Its worth watching for the final scene of the young girls dancing. As usual Werner Herzog is amazing.

great movie and commentry

This is one of Herzogs best films. Kinski is superb...ruthless, calculating, over-sexed, violent....normal Kinski.A disturbing story set in the exploitative world of the19th century slave trade of Brazil and Africa.

ok

This is a haunting film about slavery (based loosely on a Bruce Chatwin novel), but unlike other films on the topic it doesn't actually denounce slavery, working instead within the mental framework of the 19th century. Not a 'politically correct' approach, of course, as director Herzog cheerfully acknowledges, but an historically faithful one.Herzog is concerned with authenticity when portraying African cultures, and this may be one of the most realistic depictions of colonial Africa ever committed to film. Interestingly, the actor who plays the King of Dahomey is a real African tribal king.Klaus Kinski plays the title role with a crazed intensity which according to Herzog mirrors the fact that he was slipping over the edge in real life. Kinski's character Cobra Verde longs "to go forth from here to another world", but in fact he is already in another world - Herzog's camera captures the sense of strangeness and mystery in each landscape the film passes through.In many ways 'Cobra Verde' is like an extended dreamscape, hyponotic yet full of surprising juxtapositions. While not Herzog's most coherent film, in terms of stylised cinematography it ranks up there with his best. It is a work of art that demands attentive viewing.Contrary to the myth that whites are responsible for the African slave trade, the film also acknowledges the historical reality that slavery was practiced extensively by Arabs and Africans (not that whites didn't actively participate in it, of course). Herzog discusses some of these issues in the director's commentary track, which is interesting in its own right.

The last and least of his volatile collaborations with Werner Herzog, Cobra Verde is possibly the one movie where Klaus Kinski isn't the maddest person on screen - he's out-madded by not one but two African kings who make him look a model of logic and reason: when even Werner Herzog describes one actor as a "very odd man," you'd better believe it. After a hypnotic opening the first third is sluggish at best, but once Kinski's South American barefoot bandit ("I don't trust shoes") reaches Africa to reopen the slave trade - more in his employers' hope that he'll be killed than any belief he might succeed - it's a rollicking yarn and the most spectacular of Herzog's films, ending with an image that's almost Fitzcarraldo in microsm as Kinski struggles to pull a longboat into the sea while a native cripple watches him. It's a mad film in many ways, with Kinski finding himself leading an army of Amazons because the men simply aren't good enough warriors, but like all Herzog films it has its rewards, including some striking and haunting imagery, not least a shot of Kinski in the sea watching the sky.

The last Herzog/Kinski movie is a trully masterpiece. Kinski plays the bandid cobra verde with calmness and determination; this real story unfolds in africa with some breaktaking scenery and an impressive cast of locals. The music as usaul by Popol Vaul is superb and the story is very interesting and nicely directed. It is a movie worth watching

A DREADFUL FILM, BORING AND LACKING ANY SENSE AT ALL. i WOULDN'T RECOMMEND IT TO ANY BODY. SAVE YOUR MONEY