CheerupSilver Very Cool!!!

LastingAware The greatest movie ever!

Reptileenbu Did you people see the same film I saw?

Sexyloutak Absolutely the worst movie.

Kirpianuscus a trip more than a movie. pure Herzog. and the best Kaspar Hauser. one of films who explores the shadows of a myth with admirable precision and fascinating grace. the mystery, the fear, the colors of atmosphere are basic tools. but the work, scene by scene, becomes a masterpiece. for the exploration of feelings of a small characters who becomes a symbol. for the wise use of ambiguity. for the force of image and the exploitation of each nuance. a film for a special public, who knows the art and the science and the vision of Werner Herzog. each as expression of genius to propose unconventional actors in emblematic roles. a film about Kapar Hauser, who becomes large open window to the fascinating job of Bruno S..

Horst in Translation ([email protected]) "Jeder Für Sich und Gott Gegen Alle" or "The Enigma of Kasper Hauser" is a West German 110-minute movie from over 40 years ago. The writer and director is Werner Herzog (he was roughly 30 when he made this) and this is one of his 2 critically acclaimed films with Bruno S., who was (just like Kinski) Herzog's muse in the 1970s. Bruno S. was a man with the most uncommon and interesting vita. I will not go into detail here, but you can check this out for yourself. Other famous cast members here are Walter Ladengast, Brigitte Mira and Willy Semmelrogge (father of Martin). Kaspar Hauser is still a fairly famous name here in Germany and all we know is that he was a teenager apparently without any human contact in the first 16 years of his life when he appeared in Nuremberg in the 19th century. The exact details will probably always stay a mystery. But it was not Herzog's challenge here to shed light into that mystery, just to make audiences aware and give us his take on the tale.The movie that won big at Cannes, but managed to get an Oscar nomination despite being Germany's official submission, is a quite extraordinary piece. Bruno S. was so interesting to watch from start to finish and he is definitely the heart and should of the film. It is packed with symbolisms and metaphors, so I was a bit disappointed that I did not like the film as much as I hoped. This was already the second or third time I watched it and even if I would say 1974 was more Fassbinder's than Herzog's, this was still a pretty good watch. It is interesting how Hauser perceives things so differently and basically in a 100% factual manner that often seems much more correct than the way the other characters see these things, because their approaches are so clouded by their education, their experience and most of all their bias. Church and religion is a crucial aspect in here. Overall, this film is worth a watch for everybody who likes Werner Herzog's films, especially his earlier works. However, it may not be the best choice to start with Herzog's work. It really it a more distinguished, more challenging film of his. Thumbs up.

The_late_Buddy_Ryan Herzog's existentialist fable is clearly not for everybody; some, including my own dear wife, would say it's not for anybody. I've seen it three or four times over the years, and I still find it fascinating and weirdly entertaining. Herzog clearly isn't interested in solving the riddle of the historic Kaspar Hauser; the film takes Kaspar's unlikely story at face value and uses it as a showcase for the amazing if limited talents of his main man, Bruno S., a schizophrenic street performer who'd spent most of his life in institutions. Bruno's performance as Kaspar, who claimed to have spent most of his own brief life in solitary confinement, is irresistible; I especially enjoyed his outside-the-box disquisitions on logic and philosophy—he explains that the room in the tower in which he's briefly confined is bigger than the tower itself, because when he turns around inside the room, all he sees are the walls of the room, whereas when he turns around at the foot of the tower, the tower disappears. QED. Nice use of flickering footage of India(?) and the Sahara to illustrate Kaspar's dreams; haunting ancient recording of a Mozart aria really sets the scene as the film begins, and Grimms fairytale locations, period costumes and plush Biedermeier interiors (as Kaspar's briefly taken up by the local notables) add texture to this poignant tale of a troubled soul who can't find a home in this world.

Edmond Marchetti I recently had the chance to watch Werner Herzog's The Enigma of Kaspar Hauser. While not one of the most common works of his early period, I found it captivating and touching. Kaspar Hauser was made one year after Aguirre, The Wrath of God, his first collaboration with the equally brilliant Klaus Kinski. Much like that film, Kaspar Hauser has a certain quality that is mysterious, yet beautiful. Herzog is one of those artists that I can really connect with, and I share his romantic wonder for the world and appreciate his willingness to explore its mysteries. It is through his work that we are able to catch a unique glimpse of the wondrous world we live in, as though we are seeing it for the first time. This is perfectly suitable in this case, because the main character, Kaspar Hauser, really is seeing the world for the first time.The opening of the film sets the mood perfectly, showing foggy shots of 19th century landscapes and people that seem almost like a symbol of Kaspar's own hazy mind. These shots fill the viewer with curiosity that will assuredly grow as they first see Kaspar Hauser sitting in a dark cellar, not knowing how to speak, write, walk or even stand. Bruno S. did a fantastic job as the lead character, and it is moving to watch as Kaspar puts so much effort into attempting to comply with the society he suddenly seems to be a part of.Herzog's use of music in his films has always been profound, and Kaspar Hauser is no exception. Although not used throughout very much in the film, the classic pieces of Tommaso Albinoni and Johann Pachelbel are used to their full potential when they are heard. The dream sequences in the film are quite mysterious. Presented with grainy and flickering film, they are seen in a similar way to how we perceive them in life, watching as their details are slowly forgotten.There is always a very real, documentary quality to Herzog's films which is created through his use of extended shots of people, animals, and landscapes. Also contributing to this quality is his use of real extras rather than actors, and the fact that even the main characters seem as though they are real people. It all combines to create one grand illusion, seen through with more attention and heart than most renowned filmmakers of any generation.