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 »
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 »
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.
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 »
In the autopsy scene, the operating table is equipped with an exhaust pipe which is white and smooth. It looks like plastic, because no material of that era could have a similar appearance, also the pipes at that time were made of lead. 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 »
It's a well known philosophical conundrum, would a man be able to think (or even be properly considered a man) if he was denied all sensory stimulation? In Nuremburg in 1828, there was a practical test of this proposition, when a person was discovered in town who had spent all his previous life incarcerated and denied human contact. He was duly taught how to think; but in fact, was not grateful for the experience. Werner Herzog's film examines the strange life of Kaspar Hauser - I find it hard to say whether or not I consider it a good film, because that life itself was so strange. Certainly it better recreated the bafflement of those who interacted with Kaspar than it managed to suggest what it really felt like to be Kaspar - but then, who could know? It's probably not Herzog's greatest achievement - but it's certainly an intriguing subject.
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