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 »
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 »
What are women good for?... Can you tell me that, Katy? Women are not good for anything but sitting still!
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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 »
This is the third Werner Herzog film I have watched. The first two were Signs of Life and Aguirre: The Wrath of God. All for themselves and God against All is by far my favorite Herzog movie (and my favorite title). The exploration of Kaspar's primitive mind was fascinating and, at times, even humorous. I enjoyed Kaspar's disdain for the arrogant priests and scientists (but especially the priests!). Like every Werner Herzog movie I've seen thus far, the film does not progress at breakneck speed. This is definitely a turn-off to most movie-goers. I can relate. (Signs of Life had me checking my signs of life). However, I felt that the significant and often humorous dialogue more than made up for the admittedly slow pace.
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