A group of inhabitants of a correctional colony for people of small stature raises a riot against the local order. Tired of adhering to the many rules that require good behavior from them, ... 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.
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 <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 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 »
What are women good for?... Can you tell me that, Katy? Women are not good for anything but sitting still!
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 »
Werner Herzog's film deals with the true story of Kasper Hauser (Bruno S.), a young man who appears, supposedly out of nowhere in a small German town of Nuremberg in 1828. The film deals with Kasper's slow educational process and his introduction into polite society by Professor Daumer (Walter Ladengast). Kasper is a true outsider, and the film looks at the problems this creates (for example, Kasper is unable to believe that god could create the entire universe from scratch, so he his shunned by the church elders).
The films title (The Enigma of Kasper Hauser is just one of many others) seems to sum up the film perfectly. We never really know just who Kasper is and why the mysterious man wants to hurt him; the film ends up giving us more questions than answers. But the beauty of the film lies in the performance of Bruno S. his child like innocence and odd take on life is so pure and beautiful, I love the scene where he talks about how he sowed his name in seeds, and how someone had trodden on it. This seems to be a pretty clear metaphor for the film, how Kasper was crushed by the town folk, and used for social merit.
Herzog's visuals are also fantastic, from the soft focus opening of the boat on the lake; to Kasper's dream of the caravan at the end he fills the film with a mixture of the naturalistic and the surreal. No other director has given his films such an air of the hypnotic and the style works wonders with this story. Kasper Hauser is a beautiful, if at times painfully slow film, that gives us yet another interpretation of the outsider in society, definitely worth the watch.
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