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The feared bandit Cobra Verde (Klaus Kinski) is hired by a plantation owner to supervise his slaves. After the owner suspects Cobra Verde of consorting with his young daughters, the owner ... See full summary »
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 »
A wounded German paratrooper named Stroszek is sent to the quiet island of Kos with his wife Nora, a Greek nurse, and two other soldiers recovering from minor wounds. Billeted in a decaying... See full summary »
The geologist Lance Hackett is employed by an Australian mining company to map the subsoil of a desert area covered with ant hills prior to a possible uranium extraction. His work is ... See full summary »
The inhabitants of an institution in a remote country rebel against their keepers. Their acts of rebellion are by turns humorous, boring and alarming. An allegory on the problematic nature ... See full summary »
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 »
"This is the story of a soul", someone said and I agree because loneliness is here described through a slow moving plot and endless silences which make us see Kaspar Hauser not as a man but as something more sulfuric, almost a being from outer space. The performance of Bruno S. is simply moving and caused me a lot of tears and the use of time through the narration is perfect for a film of this kind. The poetic vision of Werner Herzog is very peculiar and unique and you can love it or hate it but you cannot ignore it. Herzog doesn't care about the audience, he tells what it wants in the way he likes and that's the praise and the defect of European cinema and it's what makes the difference between European authors and American ones.
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