Werner Herzog's most ambitious film divides audiences between those who laud its astonishing portrait of obsession and its insightful commentary on the absurdity of ambition and those who complain that it is a sterile, loud, boring journey to nowhere. There is, however, no denying the visual and technical magnificence of Herzog's achievement, as the jungle scenes have a palpable sense of authenticity, and those poor natives really DID haul that boat over a mountain. Lacking scenes of narrative introspection, the film leaves the audience to figure out the complex and paradoxical title character, who appears to be equal parts madman and genius. Klaus Kinski is at his eccentric best in the role: it is not hard to believe that this man would drive a crew to mutiny. His unwillingness to let go of his dream, regardless of the price, alienates many viewers, making it increasingly difficult to find an emotional connection to this already cool and labyrinthine film. However, the sound of operatic arias floating across the Amazon, a metaphor for artistic transcendence, confirms that dreamers and their obsessions can give us otherwise unimaginable moments of pure beauty. Les Blank's Burden of Dreams, which documents the making of Fitzcarraldo, suggests that there may be equal amounts of hubris and genius in Herzog himself, and that he is in no small part the model for Fitzcarraldo.