Stroszek

I just had the opportunity to see Werner Herzog's "Stroszek" for the first time in its new DVD edition. It's certainly a bleak scenario, but I'm not so sure it was meant to be as critical of the United States as many viewers both here and abroad suppose. In his commentary for this film, it seems to me that Herzog plays down that aspect of it. He expresses a strong affection for the typical Americans seen in the film -- non-actors who just happened to be on the scene and were prevailed-upon to more-or-less portray themselves. The unfortunate protagonist of the film, played by longtime Herzog protégé Bruno S., leaves for America with his friends to escape a brutal and oppressive existence in Berlin. While misfortune comes to them in a different guise in America, it's hardly more barbaric or degrading than their lives in Berlin. To me it suggests that human nature is the same everywhere, and the weak are always preyed-upon. Bruno and his companions are just innocent enough to believe the old legend that in America the streets are paved with gold.

The running commentary that Herzog has recorded for the recent DVDs of his films are among the most interesting and engaging I've heard, and they're one of the reasons I especially appreciate the DVD medium. That's not to say that he lets the literal-minded viewer off the hook by providing handy explanations for every peculiar image or bit of dialog. When asked what a certain image or phrase signifies, he will sometimes simply say that he cannot explain it. But I find it fascinating to watch a scene, and then scan back and listen to his comments about the location, actors, technical details, and yes, even sometimes the intended effect of a puzzling image. Many of the people seen in his films are non-actors, people he simply ran into, found interesting, and intuitively knew would be effective on film. Some of the players in Herzog's films are the very people that most directors would chase from their set with security guards, but he sees something interesting in them, and finds a way to tap into it. I can't help liking the man for that. Some people have suggested that his use of the unfortunate Bruno S. as a film actor amounted to some sort of exploitation. But it seems to me that his befriending of Bruno, and his artful and patient use of him as a film actor, must have given Bruno some sense of the dignity and worth as a unique human being that was denied him for most of his life. If this means nothing to you, and you don't know anything about Bruno S., the commentary tracks on either "Stroszek" or "The Enigma of Kaspar Hauser" explain his background nicely. It's a remarkable story.

If you're unfamiliar with Herzog's work, he has done some especially exotic films with the volatile actor Klaus Kinski. "Cobra Verde" is a particular favorite of mine. But his films do not have the relentless pace or hyperactive editing typical of mainstream American films. They are unforgiving of those with short attention-spans, so be forewarned.

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.

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.

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.

A friend once commented to me that what made a painting more interesting than say, just the oil on the canvas, was the story behind the painting and the story behind the person who painted it. This works ideally when applied to this wonderfully, deeply affecting film. IF you've watched this film then you must know a little about the back story and if now read the twenty other reviews posted here. The truth is what makes this film great! The truth it takes to mix this film with fact and fiction, to script or not to script! To style or not to style. This is wondrous. Herzog is one of those film makers that only come along once in a very very long time, And of course you all know about the ending. It's fitting I suppose perhaps prophetic if you really think about it. Never How! Let the beauty of this film pass down from good friend to good friend. FIVE STARS!