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 »
During the 1800s, paroled Brazilian bandit Cobra Verde is sent to West Africa with a few troops to man an old Portuguese fort and to convince the local African ruler to resume the slave trade with Brazil.
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 »
In the 1950s, an adolescent Werner Herzog was transfixed by a film performance of the young Klaus Kinski. Years later, they would share an apartment where, in an unabated, forty-eight-hour ... 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 talk 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 <firstname.lastname@example.org>
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 the 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 then 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 »
When sitting at table, a man tries to take Kaspar's hat. Kaspar's left hand changes between shots. See more »
Do you not then hear this horrible scream all around you that people usually call silence.
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Opening credits prologue: One Sunday in 1828 a ragged boy was found abandoned in the town of N. He could hardly walk and spoke but one sentence.
Later, he told of being locked in a dark cellar from birth. He had never seen another human being, a tree, a house before.
To this day no one knows where he came from - or who set him free.
Don't you hear that horrible screaming all around you? That screaming men call silence? See more »
Even if this film had failed on the level of character or narrative (which it doesn't), I would still love this movie for its incredible imagery. The memory/dream sequences are haunting and will never leave my head. The opening shot of a field, long blades grass bowing under the wind to the music of Pachelbel, is extraordinary. And of course there's the performance of Bruno S, the most intensely hypnotic and genuine performance you will ever see.
But my favorite scene is of the impresario and the dwarf king and his kingdom. This is a true Herzog moment -- bizarre but somehow still a moment of striking epiphany -- the dwarf a parallel, isolated soul to Kasper's own isolated, lonely soul. The extremity and weirdness of moments like these seem commonplace and everyday in a Herzog film, and therefore somehow commonplace and everyday even in our own lives.
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