How Much Wood Would a Woodchuck Chuck...

I had to shake my head in wonder for 45 minutes. This has to be one of the most bizarrely motivated documentaries I have ever seen. It documents an auctioneer's contest. And believe me, we have to sit through the whole routines of every contestant, a death march of blather.

Its not that he's making fun of this American "institution." He really is fascinated by this and had the winner here appear in "Bruno S," in a fabricated part. And he has on numerous times commented on how he finds this hypnotizing. The interesting part of the film is not in the film; that's amazingly boring. Its in the wonder of why this German filmmaker, this sometimes genius who had by then made one of the best two dozen films in history, this risktaker, this idealist – why he would spend his time and ours on this. If it were 45 minutes of dirt and clouds, I might understand, but this?

There are a few transcendental moments that he's caught, The context is in Amish country, and he had a crew, so before we begin the contest proper, he shows us some of these people. Now that's the Herzog we know and love. Some of these faces are worth cherishing, especially the women: and one little girl, so cleanly groomed, with hair so perfectly and carefully combed back in an ultramodest style. Except, except for one twist that you know requires an artist to create and wear. A whole life of creativity in that one movement on a patient cherub's head.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

They talk so fast that you need ears like a super-hawk to really decipher what they're getting at, but it's this speed at going about selling goods that interest Werner Herzog so much. He's said in interviews that it's almost like "the poetry of capitalism", as these high-stakes auctioneers, selling off cattle within a matter of seconds, are in a unique little world unto themselves and their small audience, mostly full of small town yokels and Amish. This doesn't make his documentary on them particularly exceptional, however, as it's a little too long and a little much without a lot of human interest; we don't know who most of these ultra-fast talkers are. It is, however, quite funny at times to see them go this fast, perhaps in a sort of detached way (then again, how can one who's never been to a cattle auction know anything about what it's like to see mouths go at a mile a minute).

It's great to see when he's interviewing one guy and he starts explaining how he auctions, and at first in regular speed soon as a sort of reflex goes off into his ultra-fast speaking voice. I also liked getting into the groove of the competition, as it were, seeing how despite it being still at lighting speed with numbers and calls it can be understood which ones are the slower ones. Although Herzog fares a lot better using the auctioneer in his fiction film Stroszek- Scott McKain is the one featured in the scene where Stroszek's items are sold off in an immediacy that is purely staggering and, as it's so unexpected following the pace of that film, is one of the most hilarious scenes of the 70s in cinema- it's a fine little portrait of a group that is somewhat representative of the fun that's missing in more run of the mill acts of commerce. You're not going to see this kind of auction at an art gallery in midtown New York, only in a Herzog film.

How Much Wood Would a Woodchuck Chuck (1976)

** (out of 4)

Werner Herzog documentary about cattle auctioneers is rather strange to say the least. We really don't learn anything about the actual auctioneers except how they got into the business. It seems Herzog's main interest is just listening to them speak their fast talk and asking them what it means when they say it slowed down.

I've seen quite a few of Herzog's documentaries and this one isn't the best but he has many great ones out there.

You can buy this film from Herzog's website.

Rather tiresome Herzog documentary, in which he performs his usual variation on Brechtian alienation by providing his audience with space to think, and then hitting them over the head anyway. The subject matter is the 1976 Cattle Auctioneering World Championships, wherein a bunch of rednecks speedyodel at cows. Herzog would use this phenomenon with great dramatic power in his similarly bludgeoning treatise on America, STROZZEK, but without a fictional framework, the subject becomes monotonous and irritating.

Herzog sees these auctioneers as a major site of American capitalism. Unlike other World Championships, where a skilled jury honour the most successful, this competition is strictly business, the jurors voting for the man they'd most like to represent them. Herzog compares this to the Amish community - enemies of capitalism - in whose town the event takes place. This is an easy jibe, and one that ignores the possible intolerance and repression that can breed in such close-knit groups.

The film is full of such contentiousness. Herzog is a last bastion of righteous modernism in a prevaricating post-modernist age of crisis, confusion and doubt. All his films are made with a firm point of view, offering an unproblematic alternative, but his attacks on convention and tyranny can be rather tyrannical themselves. Herzog appropriates everything. Take, for example, the issue of voices. He interviews competitors. They speak in English, but he talks for them, over them, in German, speaking for them. If the subtitles (another level!) are anything to go by, he's also translating them without due precision, and subtleties of meaning are lost. If his English isn't good enough, it's a mark of his arrogance that he thinks this doesn't matter.

Herzog points out that there is a strange musicality to the auctioneering. He then makes us endure the art for over 20 minutes, presumably to give us time to ruminate over it. So we do. Sometimes it sounds like yodelling, at others babbling dictators, at others raving evangelists. We think about how this 'new' language (both verbal and body) developed, and note the disparity between its local specificity, almost ethnicity, and its centrality to an international capitalism. We may even note the link between the auctioneers and the cattle they're selling, in the businessmans' minds.

All this will probably come to you after two minutes, but Herzog refuses to stop, piling on these yokels whose meagre curiosity value has long since waned. Can you imagine - 20 minutes of cattle moving from one pen to another, buyers whooping, and this insane, ghastly yodelspeak ringing through your ears like a trapped bluebottle. Then - then! - after you've been given time to make up your own mind, Herzog comes along and tells you what he thinks anyway! And guess what? It's exactly the same as what you'd figured out for yourself! Arrrrgh!

(The film has one value though. Canadians really do speak as SOUTH PARK suggested. Which, when you think aboot it, is unfortunate.)

I watched this in a creative writing class in order to gain inspiration to expand into more experimental writing. I'm not sure it served that purpose, but the documentary does have a very experimental and ballsy feel to it. A documentary about auctioneers is a hard sell, but the true meaning (at least what I got out of it) is pretty excellent, that being communication and art is everywhere. The flow and process of talking at such speeds seems pointless(I honestly had no idea what the auctioneers were saying most of the time), but at the same time the judges and crowd are all giving feedback, and even judging how effectively they were selling the livestock, mainly based on rate of speech. At the same time, it was all about clarity. And I think that is what Herzog was going for. Unconventional, yet understandable.

7/10