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7.7/10
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A young man named Kaspar Hauser suddenly appears in Nuremberg in 1828, barely able to talk or walk, and bearing a strange note.A young man named Kaspar Hauser suddenly appears in Nuremberg in 1828, barely able to talk or walk, and bearing a strange note.A young man named Kaspar Hauser suddenly appears in Nuremberg in 1828, barely able to talk or walk, and bearing a strange note.
- Awards
- 5 wins & 3 nominations total
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaWerner 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.
- GoofsIn a brief scene we see a stork eating a frog with its legs tagged (ringed), but bird ringing didn't start until the end of the nineteenth century, decades after the life of Kaspar Hauser.
- Quotes
Opening caption: Do you not then hear this horrible scream all around you that people usually call silence.
- Crazy creditsOpening 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?
- ConnectionsFeatured in I Am My Films (1978)
- SoundtracksCanon in D major
Composed by Johann Pachelbel
Featured review
Werner Herzog's strange and enticing film divulges only what is known of the account of Kaspar Hauser, played by Bruno S., who dwelled for the first 17 years of his life shackled in a small basement room with nothing more than a toy horse to occupy him, without all contact with humans or other living things save for a stranger who gives food to him. One day in 1828, the same anonymous figure takes Kaspar out of his chamber, schools him on a handful of expressions and how to walk, and then leaves him standing still in a cobblestone court in Nuremberg. Kaspar is the focus of novelty and interest and is even put on display in a circus before being saved by an aristocrat who slowly and good-naturedly endeavors to renovate him. Kaspar gradually learns to read and write and forms unorthodox perspectives on religion and logic, but music is what gives him great pleasure. He draws the attention of members of the clergy, professors, and aristocracy.
The most telling scene is in fact my favorite, when Kaspar is being schooled by a psychologist who asks him a classic brain-buster, to which Kaspar gives an effortless, unusual, perfectly legitimate answer that is swiftly rejected by the psychologist for not being the standard answer. The people surrounding Kaspar in Herzog's film are perfectly subjugated, as in the scene where a little girl tries to teach Kaspar a nursery rhyme, and while it's clear that he doesn't know the meaning at all of the rhyme like she does and that he hasn't even developed as far as a small child, it's also clear that the small child has not developed far enough to know how to educate someone with less common knowledge than her.
Herzog chronicles the real-life mystery of Kaspar Hauser not so much as a creepy mystery but as a character study that demonstrates that society's traditional manner of perceiving the world may not essentially be the most well-founded or defensible, hence the film's brilliant original title, Every Man For Himself and God Against All, as all but laid bare when Kaspar's assertion that apples are tired is apparently substantiated by the incapability of his aristocratic savior to show support of the argument that they are lifeless objects subject to human control.
Bruno S. is Herzog's beautiful achievement. Bruno S., the disdained son of a prostitute, was beaten so cruelly by his mother as a toddler that he fell deaf for awhile. This caused him to be institutionalized for the next 23 years in countless institutes, regularly committing petty crimes. Regardless of this horrendous history, he became an autodidactic painter and musician. At the same time as these were his beloved pursuits, he was also pressed to take jobs in factories. Herzog saw him in a 1970 documentary, he swore to work with him. In and of himself, Bruno S. attested to the power of Herzog's vision. He was exceptionally strenuous to work with, at times not so much wanting but requiring numerous hours of screaming a scene could be shot. Owing to all of this, Bruno S. literally is a Kaspar Hauser, an inordinately tortured soul utilized for the sake of revealing the shock value of reality's hidden ugliness to common society. Kaspar is taken under the wing of several groups of people but whether their intentions are good or bad, he can never seem to live a life without the exploitation of his completely removed mind for the commotion of nobility or business.
Short of an accepted narrative or dramatic construction and full of indistinct imagery generated only by Herzog's instinct, many unexplained elements never resolve themselves in Herzog's unique character study, and they shouldn't. His encapsulating only what the world knows of this very little-known story intensifies the intrigue of it. Why did this strange person do this to Kaspar Hauser? Who was he?
The most telling scene is in fact my favorite, when Kaspar is being schooled by a psychologist who asks him a classic brain-buster, to which Kaspar gives an effortless, unusual, perfectly legitimate answer that is swiftly rejected by the psychologist for not being the standard answer. The people surrounding Kaspar in Herzog's film are perfectly subjugated, as in the scene where a little girl tries to teach Kaspar a nursery rhyme, and while it's clear that he doesn't know the meaning at all of the rhyme like she does and that he hasn't even developed as far as a small child, it's also clear that the small child has not developed far enough to know how to educate someone with less common knowledge than her.
Herzog chronicles the real-life mystery of Kaspar Hauser not so much as a creepy mystery but as a character study that demonstrates that society's traditional manner of perceiving the world may not essentially be the most well-founded or defensible, hence the film's brilliant original title, Every Man For Himself and God Against All, as all but laid bare when Kaspar's assertion that apples are tired is apparently substantiated by the incapability of his aristocratic savior to show support of the argument that they are lifeless objects subject to human control.
Bruno S. is Herzog's beautiful achievement. Bruno S., the disdained son of a prostitute, was beaten so cruelly by his mother as a toddler that he fell deaf for awhile. This caused him to be institutionalized for the next 23 years in countless institutes, regularly committing petty crimes. Regardless of this horrendous history, he became an autodidactic painter and musician. At the same time as these were his beloved pursuits, he was also pressed to take jobs in factories. Herzog saw him in a 1970 documentary, he swore to work with him. In and of himself, Bruno S. attested to the power of Herzog's vision. He was exceptionally strenuous to work with, at times not so much wanting but requiring numerous hours of screaming a scene could be shot. Owing to all of this, Bruno S. literally is a Kaspar Hauser, an inordinately tortured soul utilized for the sake of revealing the shock value of reality's hidden ugliness to common society. Kaspar is taken under the wing of several groups of people but whether their intentions are good or bad, he can never seem to live a life without the exploitation of his completely removed mind for the commotion of nobility or business.
Short of an accepted narrative or dramatic construction and full of indistinct imagery generated only by Herzog's instinct, many unexplained elements never resolve themselves in Herzog's unique character study, and they shouldn't. His encapsulating only what the world knows of this very little-known story intensifies the intrigue of it. Why did this strange person do this to Kaspar Hauser? Who was he?
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Details
- Release date
- Country of origin
- Language
- Also known as
- Every Man for Himself and God Against All
- Filming locations
- Croagh Patrick, Westport, Mayo, Ireland(archive footage)
- Production companies
- See more company credits at IMDbPro
Box office
- Gross worldwide
- $3,451
- Runtime1 hour 50 minutes
- Sound mix
- Aspect ratio
- 1.66 : 1
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By what name was The Enigma of Kaspar Hauser (1974) officially released in India in English?
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