Herzog's intentions are clearly noble, but unless you care to wait for the moments when Roth picks up the film and carries it on his back, back off.
Invincible (2002)
Tomatometer
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Reviews Counted:51
Fresh:27
Rotten:24
Average Rating:5.8/10
Consensus: Sluggish and flawed, this is a minor work in Herzog's career.
Rated: PG-13 [See Full Rating] for some sexual content and thematic elements
Runtime: 2 hrs 15 mins
Genre: Foreign Films
Theatrical Release:Sep 20, 2002 Limited
Synopsis: Werner Herzog's first fiction film since 1984's WHERE THE GREEN ANTS DREAM, INVINCIBLE is based on the true story of Zishe Breitbart (Ahola), a Polish Jew from a humble shtetl who was touted as the... Werner Herzog's first fiction film since 1984's WHERE THE GREEN ANTS DREAM, INVINCIBLE is based on the true story of Zishe Breitbart (Ahola), a Polish Jew from a humble shtetl who was touted as the world's strongest man. Discovered at a traveling carnival and brought to Berlin to perform in a nightclub run by the self proclaimed clairvoyant Erik-Jan Hanussen (Roth), Zishe is forced to perform feats of strength on stage in a blonde wig under the name Siegfried in order to mollify the club's significant Nazi contingent. However, as the naive Zishe begins to see the danger the Nazis represent to his people, he declares his heritage on stage, outraging the secretly Jewish Hanussen and his Aryan audience. Populating his cast with mostly nonprofessional actors, including Jouko Ahola, a Finnish real life "strongest man" contest winner, Herzog takes what could have been a rousing sentimental biopic and turns it into a brooding cautionary tale about a character with mythic aspirations. Providing contrast are Tim Roth's scaly and charismatic Hannussen, and Udo Kier's brief turn as the aristocratic Helldorf, which, combined with Herzog's dreamlike imagery, give the film the feeling of a surreal fable. [More]
Starring: Jouko Ahola, Tim Roth, Udo Kier, Ana Gourari
Starring: Jouko Ahola, Tim Roth, Udo Kier, Ana Gourari, Gustav-Peter Wöhler, Max Raabe, Renate Krossner, Zesha Breitbart
Director: Werner Herzog
Director: Werner Herzog
Screenwriter: Werner Herzog, E. Max Frye
Studio: Fine Line Features
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Reviews for Invincible
I was perplexed to watch it unfold with an astonishing lack of passion or uniqueness.
The connected stories of Breitbart and Hanussen are actually fascinating, but the filmmaking in Invincible is such that the movie does not do them justice.
Even if Invincible is not quite the career peak that The Pianist is for Roman Polanski, it demonstrates that Werner Herzog can still leave us with a sense of wonder at the diverse, marvelously twisted shapes history has taken.
Edifies Herzog's preoccupation with blurring the distinction between performance and naturalism, fiction and documentary.
A compelling pre-WWII drama with vivid characters and a warm, moving message.
By the time Papale does make it the big game, it's as if the air goes out of the movie and all Core can do is punt.
The movie has the power of a great silent film, unafraid of grand gestures and moral absolutes.
A film which presses familiar Herzog tropes into the service of a limpid and conventional historical fiction, when really what we demand of the director is to be mesmerised.
Herzog is obviously looking for a moral to his fable, but the notion that a strong, unified showing among Germany and Eastern European Jews might have changed 20th-Century history is undermined by Ahola's inadequate performance.
Half-baked Herzog, though it has twinkles of theatrical purity that remind you of when his vision was grand.
...the naivete of his performance has a humbling effect on a film that, while entirely too long and short on sizzling imagery, is meant to be taken simply as folkloric.
Blessed with immense physical prowess he may well be, but Ahola is simply not an actor. And in truth, cruel as it may sound, he makes Arnold Schwarzenegger look like Spencer Tracy.
Sounding like Arnold Schwarzenegger, with a physique to match, [Ahola] has a wooden delivery and encounters a substantial arc of change that doesn't produce any real transformation.
Embellished with touches of magic realism and washed in a voluptuous quasi-Wagnernian score, Invincible, when at its best, is almost as seductive as Hanussen's games of smoke and mirrors.
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