Through examining Fini Straubinger, an old woman who has been deaf and blind since adolescence, and her work on behalf of other deaf and blind people, this film shows how the deaf and blind... See full summary »
After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
An ex-convict struggles to survive by brute force alone in a turn-of-the-century slum in Braila. Codine (Alexandre Virgil Platon) is the thug who served 10 years for murdering a friend. He ... See full summary »
Alexandru Virgil Platon,
Herzog's film is based upon the true and mysterious story of Kaspar Hauser, a young man who suddenly appeared in Nuremberg in 1828, barely able to speak or walk, and bearing a strange note; he later explained that he had been held captive in a dungeon of some sort for his entire life that he could remember, and only recently was he released, for reasons unknown. His benefactor attempts to integrate him into society, with intriguing results. Written by
Mike D'Angelo <email@example.com>
Werner Herzog's said at his Rogue Film School, that the following scenes were shot with a Super-8mm camera: a) The opening scene on the river. b) The montage of landscape shots early in the film. c) Right after the man in black teaches Kaspar how to walk. d) The Caucasus pyramid sequence. e) The caravan in the desert with the old man tasting the sand. Herzog talked about how for some of landscape shots early in the film he mounted a telephoto lens on the end of wide angle lens onto his Super 8 camera. This distorted the edges of the images and created a white/halo effect around the frame. On the DVD audio commentary of this film he mentions how for the Caucasus pyramid sequence he projected the image onto a screen and than re-photographed the image with a 35mm camera at a different frame rate from the projected speed. He also used this technique with the caravan in the desert sequence. See more »
After Kaspar is left in the town square, there is one shot of him where the way he holds the note, and the way the bandanna is tied, that is different from before or after. See more »
What are women good for?... Can you tell me that, Katy? Women are not good for anything but sitting still!
See more »
Werner Herzog's film deals with the true story of Kasper Hauser (Bruno S.), a young man who appears, supposedly out of nowhere in a small German town of Nuremberg in 1828. The film deals with Kasper's slow educational process and his introduction into polite society by Professor Daumer (Walter Ladengast). Kasper is a true outsider, and the film looks at the problems this creates (for example, Kasper is unable to believe that god could create the entire universe from scratch, so he his shunned by the church elders).
The films title (The Enigma of Kasper Hauser is just one of many others) seems to sum up the film perfectly. We never really know just who Kasper is and why the mysterious man wants to hurt him; the film ends up giving us more questions than answers. But the beauty of the film lies in the performance of Bruno S. his child like innocence and odd take on life is so pure and beautiful, I love the scene where he talks about how he sowed his name in seeds, and how someone had trodden on it. This seems to be a pretty clear metaphor for the film, how Kasper was crushed by the town folk, and used for social merit.
Herzog's visuals are also fantastic, from the soft focus opening of the boat on the lake; to Kasper's dream of the caravan at the end he fills the film with a mixture of the naturalistic and the surreal. No other director has given his films such an air of the hypnotic and the style works wonders with this story. Kasper Hauser is a beautiful, if at times painfully slow film, that gives us yet another interpretation of the outsider in society, definitely worth the watch.
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