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.
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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 »
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 »
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 »
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 »
Kaspar, what's wrong? Are you feeling unwell?
It feels strong in my heart... The music feels strong in my heart... I feel so unexpectedly old...
You've been such a short time in the world, Kaspar...
Why is everything so hard for me? Why can't I play the piano like I can breathe?
In the two short years you have been here with me, you have learned so much! The people here want to help you make up for lost time.
The people are like wolves to me.
No. You mustn't say that...
See more »
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 »
"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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