User reviews

Bruno is a street performer released from prison in Berlin. In a local pub, he befriends a down-on-her-luck prostitute named Eva, who moves in with him. Her pimps harass and assault them both regularly, forcing their way into Bruno's apartment at one point and trashing the place. After Bruno's elderly friend Herr Scheitz announces his plans to move to Wisconsin, Bruno and Eva decide to accompany him to try and start again in America. However, it turns out their prospects may not be much better stateside, as we see in Werner Herzog's brilliant comic-drama 'Stroszek.'

A powerful, deeply moving film, 'Stroszek' is unique and unforgettable. It is a tender portrait of life on the margins of society that is most affecting. Herzog's characters are profoundly realistic creations and his story is full of poignancy. A movie about shattered dreams and dashed hopes, its themes are universal and its images captivating. At times, the precisely honed film feels improvisational or off-the-cuff; which is a credit to the unaffected nature of Herzog's writing and direction. Though there is a lot of humor in 'Stroszek,' it is ultimately a harrowing drama that speaks volumes about the human condition within our callous world.

'Stroszek' reunites Herzog with cinematographer Thomas Mauch, one of his more frequent collaborators. Mauch's naturalistic approach gives the film a documentary-like feel, which bolsters the faux-authenticity of Herzog's narrative. His juxtaposition of the constricting alleyways and streets of Berlin with the wide-open spaces of Wisconsin is arresting and effective. In the role of cinematographer, Herzog regularly uses Mauch, Jörg Schmidt-Reitwein or Peter Zeitlinger. The work of the latter two generally feature more stylizations and elaborate lighting, and possess a dream like atmosphere. For a human-centered drama like 'Stroszek,' the realism of Mauch's approach is most appropriate, as the haunting beauty of the resulting visuals prove.

The film boasts an atmospheric soundtrack, featuring songs by the likes of Sonny Terry and Chet Atkins. David Lynch has often stated that a successful film is comprised of "sound and image moving together through time," positing that, in scenes, visuals and sounds must complement each other; as they do masterfully throughout 'Stroszek'. Terry's 'Old Lost John' is utilized particularly well in one scene at the end of the film that sticks in the mind long after the credits have rolled (as it evidently did in Herzog's; he would re-use the song decades later to similar effect in 'Bad Lieutenant: Port of Call New Orleans').

Herzog has said that he doesn't like to "confront" his films alone during the editing stage, and until 1984, Beate Mainka-Jellinghaus assisted him during that process on all his cinematic endeavors. Their work for 'Stroszek' is flawless, and the film has a steady pace that never lets up. Additionally, the set design is muted, though highly detailed. Locations look long lived in, and the grittiness of their appearance adds to the overall narrative impact.

'Stroszek' stars Bruno S as the titular character. Partially inspired by himself, Bruno gives a tour-de-force performance of boundless depth, vulnerability and emotional perspicuity. He is someone you warm to immediately, and has your sympathies throughout. As does Eva Mattes- the only real professional actor involved- co-starring as Eva the prostitute. Her ease of performance and range leaves an indelible impression on the viewer, and you feel she really cares for Bruno. Also worthy of note is Clemens Scheitz's terrific turn as the elderly, comic Herr Scheitz and a troupe of performing chickens; who do most memorable work (despite the intense stupidity of their gaze).

A masterful and understated tragicomedy, 'Stroszek' is vintage Herzog. Boasting an insightful screenplay full of humor and drama in equal measure, the story is heartfelt and speaks of universal human truths. Seamlessly edited and shot with a distinct visual style, the film is timeless and terrific. Strongly acted and featuring an emotive soundtrack full of catchy tunes, this tale of broken dreams is one you'll find hard to forget.

Fascinating, unique look at the American dream follows three German social misfits (Bruno S., Eva Mattes, Clemens Scheitz) as they travel to Railroad Flats, Wisconsin to seek a better life. Strange comic moments mesh together well with some extremely sad and moving moments. Superbly performed by everybody, although the cast is mostly non-actors. The documentary style shooting works well with the story. One of Herzog's best.

I discovered Werner Herzog first through his remake of Nosferatu and then through Fitzcarraldo and Aguirre: The Wrath of God. Though the brilliance of those movies is unimpeachable, Stroszek, at least for me, stands at the apex of Herzog's oeuvre.

This intensely moving and satisfying film which begins in Germany and winds up in Wisconsin is solid through and through. There's not a weak moment or weak element to be found. The acting, especially by Bruno S., is completely unaffected and without over-stylization (there is, perhaps, a reason for this - they aren't acting, simply being). The story itself deals with melodramatic elements without steering into soap opera territory and the film's ideology is not black in white. There's subtlety and complexity to the ideas put forth in this film about America, Germany, human beings, life, etc. Moreover, Stroszek avoids beating the audience's brains with its ideas; Herzog presents them in the context of the story, smoothly integrated.

And then there's the beautiful photography, particularly of the American Midwest; Herzog and his cameramen capture perfectly the cold, stark, desolate magnificence of the upper-Plains. To draw a weird comparison, the photography here is the equivalent of Husker Du's New Day Rising - crisp, harsh, and gorgeous simultaneously.

Stroszek also has a justifiably well-known ending, both surreal and completely sensible. Though any other director would be unable to top an ending such as that in Aguirre (the slumped conqueror, floating on a monkey-covered raft), Herzog does just that here.

Truly, if you have not seen any Herzog, this is a great place to start; then go see Aguirre, Fitzcarraldo, Nosferatu, Woyczek, and Invincible. The man is brilliant and I await with bated breath Grizzly Man, his new project.

This movie has been described as Herzog's take on the American Dream, and there is some overt USA bashing, but it is much more complex than that, as societies are not easily characterized. For instance, the gangster-pimps that terrorize and brutalize Bruno and Eva in Berlin are very much reflections of the Gestapo mentality and the feeling of being trapped and helpless in your own homeland. They are more fortunate than Nazi victims in the ease of their "escape" to America but unlike most of those refugees in the 30's and 40's, Bruno is unable to assimilate and contribute. He expects instant riches and does a little work for the horny hillbillies that give him a job but is still full of anger and paranoia. This is due primarily to his obvious faults, alcoholism and maybe paranoid schizophrenia, and not to the American system. All 3 of the German transplants are shown to be highly intelligent and cultured beyond the hellish railroad town they are plopped down into, and the obvious solution would have been for Bruno to seek employment as a musician, as he is very talented in that regard, but the dramatic arc of the story demands that he lose everything including Eva, and blame America and the insipid characters he is forced to deal with, and do something drastic, which he does. Eva knew that America is the same as every place: if you want a good life, you've got to work hard for it, using whatever tools & gifts you possess. But Bruno is too damaged to apply this principle, and this is the tragedy of "Stroszek" and of Bruno S.

The scene with the premature baby and the doctor is one of the greatest I've ever seen. It is just amazing, the character of that tiny infant, and shows Stroszek the fundamental power that he lacks, the tenacious nature of humanity to hold onto not only fellow human beings, but also to life itself.

The coin-operated live animals in the end represent not only cruelty and lack of compassion, but the obsessiveness of the American pursuit of entertainment. I personally felt more compassion for these creatures as victims of a system than I did for Bruno, who was pretty much doomed before he came to America.

This film provides Americans the opportunity to see what the USA looks like through a foreigner's eyes. It's no picnic, according to Herzog. Even more, the title characteris played by Bruno S., a certified schizophrenic that Herzog befriended. His acting style is nothing of the kind and adds a sense of honest bewilderment to the roles he has played. This story is the antithesis of the Horation Alger "American Dream" story. It is bizarre and moving in spite of itself. Herzog hits upon one of the greatest endings to any film attempting to sum up the character of the US: it takes place at a roadside carnival of sorts, that features the antics of trained animals, who dance and play the piano on command (not nearly as impressive as it sounds, just like America).

Stroszek, directed by Werner Herzog, features Bruno S. who previously starred in Herzog's The Enigma of Kaspar Hauser. The actor's speaking style and mannerisms are much the same in both films, but ultimately this film falls short of the earlier one. In it, Bruno Stroszek is a German alcoholic who, released from prison, takes in a prostitute. If they're lovers, it's hard to tell, because what we see makes their relationship seem totally platonic. They are targeted for harassment, and seek a better life by moving to Wisconsin- even though Stroszek doesn't speak English. The prostitute works as a waitress, but falls back to her old patterns and abandons Stroszek and the elderly German man they were living with.

There are certain messages in this film, and a probably important one is that it's hard to run away from trouble. Moving to a new city, or country in this case, doesn't always do it. When the prostitute leaves Stroszek for Vancouver, leaving him with a mortgage and no income, you know he's screwed. Beyond these elements, Stroszek is a movie with character but is not altogether impressive. Bruno Stroszek is interesting, but not as extraordinary as Kaspar Hauser. Ultimately, it leaves me a little underwhelmed.

Before I address the film, allow me a quick paean to its writer/producer/director. Thank Christ for Werner Herzog. It's tough being a cineaste these days, with such creative geniuses as Michael Bay, McG, and whoever directed Deuce Bigalow 2 ruling the Hollywood roost. Even Spielberg and Lucas have lost their mojo...OK, Lucas moreso--much, much moreso--than Spielberg. But what about Coppola? What's Scorsese done recently? Did P.T. Anderson fall off the face of the Earth? It's a bit frightening to think that no one is at the helm of the ship, and nothing good and/or original is being made. Enter Herzog. The guy IS a genius, and besides that, he is not only prolific, but he still has "it." Grizzly Man is just as good as anything Herzog made thirty years ago. Coincidentally, Stroszek was made thirty years ago. It is brilliant. Herzog knows how to use music in films, and here is a prime example. Herzog always has one or two bits of indelible imagery in his films; in Stroszek, we have the premature babies and the dancing chicken. (Another Herzog staple is unforgettable characterization. Who else wanted to punch the banker in the face? The guy's performance as a glad-handing vulture with a big sh*t-eating grin was spot-on.) Now I can see some viewers giving up after fifteen minutes and saying, "This is pretentious, Euro-arty bullsh*t." Fair enough...not all movies appeal to everyone. But I hate pretentious, Euro-arty bullsh*t too (e.g. The Perfect Human), and this ain't that. Stick with it, or wait a few years and try it again (just like reading Ulysses). This film will make demands on you...don't expect Hollywood pap. Last thing: the accusation of "anti-American" has been leveled at this film. I'm a white, male Republican (i.e., evil incarnate) and I do not--NOT--find this to be the case. This film is not about bashing America: it is about the other side of life's coin, and how no man truly decides his own fate.

Herzog reunites with Bruno S. The film begins with S. being released from jail after some public drunkenness. After some hard times involving his girlfriend's pimps, he and she (Eva Mattes) decide to accompany a friend who is moving to America. They end up in small town Wisconsin. Unfortunately, life is no better there. I have avoided this film for a while because, from the description, it sounded kind of anti-American and maybe particularly anti-Wisconsin, the state in which I grew up. Those fears were unfounded. Herzog, of course, is not that kind of guy, and he spends a lot of his time in the United States. This isn't even really a satire, like I thought it would be. Unfortunately, I don't think it's much of anything. Bruno S. is such a messed-up person (both in real life and in the characters he played for Herzog) that the fact that he can't adjust to life in America is neither surprising nor at all damning. It seems like life is going to be hard for the guy no matter where he goes. Because of that, it's kind of hard to get too invested in this movie. It never feels like Herzog had much of a plan for it, anyway, and it just kind of plods along. I did love the final sequence. I could watch that chicken dance for two hours.

If you're going to watch this, I strongly recommend you allot time for the DVD version with Herzog's commentary. It adds some warmth and a lot of insight into what on the surface could be seen as a simple film wherein the characters don't change despite the fact that their environs do.

Yep another indictment of the impersonal and imposing modern world and those that it plows under. At the same time, it had a strange flavor, reminiscent of being cursed at in English by a non-native speaker. Perturbing on one level, but sort of playful in its twisted delivery.

On the first watching of the film, I knew nothing about Bruno S. the person...but did find him a bit of a miscreant. Later on we learn that "Stroszek" serves as somewhat of a biopic, strung together with flotsam and jetsam from Herzog's own travels and travails. Herzog's casting is beyond odd, and for that I am grateful...others may be put off.

But part of Herzog's anachronistic/anarchic approach is to take non-actors and place them in a state of inaction. Through this process, we get something more like life than cinema, and yet strangely unlike either. The spiral downwards of Bruno feels inevitable, and is nowhere near enjoyable to watch. The film is frustrating to me, as Bruno remains no more than a spectator in the debacle of his own life. He's a complex simpleton, refusing to march to the beat of his own conundrum.

We are promised a false rebirth, with the visit to the preemie birth ward...but Bruno spent too much time wrapped up and strangled by his umbilical Berlin cord. The move to America finds rifles growing like corn stalks, and one even takes root in our anti-hero's hands.

The film feels rife with symbolism, but I wonder how much of that is a fact that Herzog himself is a magnet for fools' gold. If you, like myself prefer such esoteric elements over the coign of the silver screen, then this film should have enough rewards for you. But ultimately, I think you'll feel shortchanged.

The soundtrack however does deserve a favorable mention, the beauty of dilapidated sound is easier to appreciate than dilapidated surroundings for me. And whereas the musings of Bruno did not ring true for me, his homespun, junkyard music certainly did.

6/10

I look forward to seeing other Herzog films, but I'm starting to wonder if I (or you) should see them in any particular order. Again the commentary was a big plus, I'm impressed at the sort of improvisational movie-making Herzog guides.

Werner Herzog was one of the directors behind the New German Cinema (approx. 1962- 1982). In "Stroszek" (1977), the main character Bruno Stroszek dreams of getting away from his unhappy life in Berlin and starting a new life in the land of dreams. Together with two friends, he sets out for Wisconsin, USA. Bruno's dream, however, does not quite come true. Renowned American film critic Roger Ebert of the Chicago Sun-Times once called it "one of the oddest films ever made" when including it as one of his "Great Movies". It's odd for sure and it leaves you with a strange feeling.

I recently watched Michael Winterbottom's 24 HOUR PARTY PEOPLE, where Ian Curtis hangs himself while watching the chicken dancing sequence in STROSZEK. He'd probably done that anyway, but Herzog's portrait of three eccentric oddballs trying their luck in America, is a sombre film, the most downbeat Herzog made. The only copy I own is a rather dark VHS-copy, which shows some of the interior shots in Berlin even darker than they already are, to the very limit of watchability, so perhaps it's time I update this beautiful film with a proper DVD.

The film handles the story of former asylum inmate Bruno S. (THE ENIGMA OF KASPAR HAUSER) as a Berlin street singer (in a role where he basically plays himself), who joins with his prostitute girlfriend Eva (Eva Mattes) and ageing eccentric friend Scheitz (Clemens Scheitz) to embark on a memorable journey, leaving modern Berlin, for the golden opportunities of America. The 'promised land' is represented by the dreary, austere town of Railroad Flats in rural Wisconsin, where they settle in a mobile home bought on credit, but it turns out America is not gonna fulfill their dreams that easily.

Shot in winter, Berlin is shown as a cold, forbidden and lacklustre place. Not a ray of sunshine. The dark facades of the battered apartment blocks, downlit bars filled with smoke and shabby characters, the only goal the folks in Bruno's world seem to have, is merely make the best of things.

Often read as a critique of how capitalist American society destroys the individual, Herzog sees the film as less a critique of the United States than as "a eulogy" in the wake of the American dream, for such shattered hopes could develop in virtually any country (see "Herzog on Herzog", p. 144). He does throw in some of the eccentricities of American life, but above all, it's a somewhat surreal account of three simple folks, short-changed in life, desperately trying to make ends meet. From the start it's clear that these three are made for each other. They simply do not fit in any stratum of society really. They're too fragile for the world of pimps and low lives that formed the background of their lives in Berlin. Although not dumb, Bruno is too half-witted to be taken seriously by most people. Eva's background is not fully explained, but she's emotionally fragile and dependent, while elderly Scheitz's chances to get ahead in life seems to lay in the past.

It's a bleak and uncompromising film, this tragicomic account of this odd trio in pursuit of a better life outside the dreary confinements of Berlin's lower casts of society, but it's so intensely moving and honest with its subjects, that alone is something to admire.

Camera Obscura --- 9/10

"Stroszek" will potentially depress the hell out of you unless you happen to find Werner Herzog's brand of off-beat filmmaking amusing. I do mostly, and therefore wasn't tempted to jump off a bridge at the end of this movie, but I don't know that I'd go as far as to say it's "riotously funny," as its marketing poster suggests.

"Stroszek" tells the fictional story of a real man named Bruno Stroszek. In other words, Stroszek plays himself in this eccentric film about a man who's released from prison, meets back up with his girlfriend and elderly buddy, and takes off for the fabled lands of....Wisconsin....to pursue the American dream. Anyone who's actually been to Wisconsin can probably guess how things play out for three immigrants with about three dollars between them. What follows is a series of vignettes that place Bruno in increasingly desperate straits and ends in an ambiguous finale that involves a ski lift and dancing chickens.

Welcome to the world of Werner Herzog, folks. "Stroszek" is not as compelling as some of Herzog's best, but it does inspire a sort of morbid fascination, if only because we take comfort that our situation isn't as bad as the one our characters find themselves in. But lest you are tempted to feel too sorry for Stroszek, he, like many of Herzog's protagonists, staunchly refuses to beg for sympathy, and faces one hardship after another with the dogged determination of a man who never fully understands how humble is his lot.

Grade: A-

If I were stuck on an island and could only have 10 films, Stroszek would be one of them. This is a funny, absurd, profound film about outsiders - strangers in strange lands. The lead character (Bruno S.) is remarkable as are the rest of the assorted characters. There are so many scenes that are so brilliant and original and will stay with you long after viewing. The ending scene will haunt you, but is profound and beautiful at the same time. I just love this film from the maestro Herzog.

This is the kind of film I might enjoy more if I rewatch it sometime down the road. All things considered, I enjoyed it, but I felt I should've liked it more than I ultimately did. In order to begin discussing the film though, one must first provide some background on Bruno S. Being abused by his mother to the point he was rendered temporarily deaf and having spent a lot of time in mental institutions, his background actually works to this film's benefit. In spite of having no acting experience when Herzog first met him (this is actually the second film he acted in though), he's great for this role since the film has some parallels to his real-life struggles. As a result, his performance feels very natural. Speaking of which, the same could be said of many other scenes in the film as well. With various freeform scenes of characters interacting with each other or their environments, one gets the impression that Herzog turned the camera on without telling anyone to see what kinds of strange improvisations he could capture. One might be bothered by this approach, but I think this is all at the heart of the film's twisted humor of capturing how bizarre the world Bruno navigates is. Certain scenes such as Eva's pimps playing a piano as they beat Bruno, a mobile home being driven into and away from a plot of land, and the auction do a great job at representing the absurdities of both Germany and the U. S. Also, the final couple minutes are excellent and easily the best example of the film's humor. The scene acts as a parallel for Bruno's emotional journey throughout the film. Regardless of how hard Bruno works to maintain his home doesn't stop the bills from piling up to the point that nothing he can do will provide a sufficient income. The final scene showing several animals stuck in an endless loop of performing and getting no food seems to suggest that Bruno's situation would've kept getting worse if the film continued on. With that being said, I will admit that my appreciation of this film clicked on and off as I watched it. While I loved what I mentioned up above, I felt those elements were too few and far in between for me to love this film. For instance, the twisted humor vibes showed a lot of potential, but at the same time, I felt they were underutilized and should've been more frequent. Part of this might be due to Herzog drawing out certain scenes longer than he needed to, but whatever the issue is, a lot of my time watching this film consisted of me hoping for it to get funny again. Regardless, I still enjoyed this film and I may return to it sometime in the future to see if my opinion of it grows.