In some measure, a making-of and "behind the scenes" featurette; in some measure, a portrait of a beloved filmmaker doing what he does best. Many are those pictures in which Werner Herzog as appeared in front of the camera, but usually it's in a detached capacity to facilitate the presentation of subject matter. In this instance we get to see the man in a more casual capacity as we see how he operates as a director, and the joy he takes in his work. At the same time, collaborator Herbert Golder gives us a peek behind the curtain as 2009 movie 'My son, my son, what have ye done' is being filmed - offering a new perspective on the cast and crew, and on the real-life case that inspired Golder and Herzog's screenplay. Rather than feeling split, however, the different facets of this documentary quickly gel into one cohesive piece as a portrait emerges of a man who craves, and pursues, and seeks to inspire authenticity. It's readily evident that Herzog shapes productions in a manner that always serves the story and the scene foremost, with all considerations bent strictly to that purpose.
The result of all this is that 'Ballad of a righteous merchant' is earnestly fascinating as we get an intimate look at how Herzog operates, and to be honest it's hard not to fall in love with the man as we see how much he loves storytelling and film-making. Golder's piece also serves to accentuate that those portions of 'My son' that felt like non-fiction transposed into fiction - an ostrich farm, seeming interviews with a man who is unwell, rehearsals of a play - really weren't far off the mark to begin with as the same notions are presented here without the polished veneer of a finished feature. Speaking of polish, it's safe to say that this quality is the one thing that Golder's title distinctly lacks. It feels a tad unfocused as it endeavors to capture all the ins and outs of the production of nine years before, like a person so enthusiastic about a topic that they trip over their own words and thoughts in talking about this and that and the other thing before stopping outright as they try to gather themselves. Indeed, 'Ballad' comes across as a bit of a jumble, despite Golder's best efforts, and perhaps not as comprehensive as one might hope. But then, in fairness, if these are the worst things one can say about a documentary, then I'd say it's done pretty well for itself.
It's really kind of exhilarating to watch Herzog conduct himself and his cast and crew on film sets, or in the very least charming and absorbing. One quite wishes that more such portraits would have been made over time; 'My best fiend,' in which Herzog catalogues his "working relationship" with volatile, notorious Klaus Kinski, does this for us in part, but not in the same way. Given that this is so tightly centered on but one title it may have even more limited of an appreciative audience than it already would, but still one has to be grateful for a chance to see the filmmaker in his element. It may not be perfect even as it is; I would argue that among other things, Golder's narration is a smidgen excessive at times. One way or another, however, 'Ballad of a righteous merchant' remains highly enjoyable and is worth checking out on its own merits. Don't go out of your way for it, perhaps, but especially if you're a Herzog fan, it behooves one to take a look if you have the opportunity.
The result of all this is that 'Ballad of a righteous merchant' is earnestly fascinating as we get an intimate look at how Herzog operates, and to be honest it's hard not to fall in love with the man as we see how much he loves storytelling and film-making. Golder's piece also serves to accentuate that those portions of 'My son' that felt like non-fiction transposed into fiction - an ostrich farm, seeming interviews with a man who is unwell, rehearsals of a play - really weren't far off the mark to begin with as the same notions are presented here without the polished veneer of a finished feature. Speaking of polish, it's safe to say that this quality is the one thing that Golder's title distinctly lacks. It feels a tad unfocused as it endeavors to capture all the ins and outs of the production of nine years before, like a person so enthusiastic about a topic that they trip over their own words and thoughts in talking about this and that and the other thing before stopping outright as they try to gather themselves. Indeed, 'Ballad' comes across as a bit of a jumble, despite Golder's best efforts, and perhaps not as comprehensive as one might hope. But then, in fairness, if these are the worst things one can say about a documentary, then I'd say it's done pretty well for itself.
It's really kind of exhilarating to watch Herzog conduct himself and his cast and crew on film sets, or in the very least charming and absorbing. One quite wishes that more such portraits would have been made over time; 'My best fiend,' in which Herzog catalogues his "working relationship" with volatile, notorious Klaus Kinski, does this for us in part, but not in the same way. Given that this is so tightly centered on but one title it may have even more limited of an appreciative audience than it already would, but still one has to be grateful for a chance to see the filmmaker in his element. It may not be perfect even as it is; I would argue that among other things, Golder's narration is a smidgen excessive at times. One way or another, however, 'Ballad of a righteous merchant' remains highly enjoyable and is worth checking out on its own merits. Don't go out of your way for it, perhaps, but especially if you're a Herzog fan, it behooves one to take a look if you have the opportunity.
