La ballade de Bruno

Admittedly, I was hooked from start go by Werner Herzog's Stroszek. This film's weird and unpredictable rhythm intoxicated me. From its arresting images (reflections from a hanging glass bottle) to the hypnotic sounds (Chet Atkins' guitar strumming languidly along a highway), these cinematic hallmarks of the great Werner Herzog flooded Stroszek mysteriously, unobtrusively and most of all, very lovingly.

Strange enough, the kitschy surreality of this film's music (a good example will be that iced lake radar search sequence) reminds me strongly of those 70's Classic Taiwanese "Beach" Dramas. You know, the kind where a pair of arms-outstretched love birds would run in slomo towards each other via opposite ends of a sandy seashore? I know, the cultural reference may be lost to non-Chinese readers and I apologise. But yes, this flick stirs and stimulates my free associative imagination with wild and insane glee. I kid you not, people. I kid you not.

However, major credits need be given to the lucidity and forceful presence of one Bruno S.

Sample below quote.

The Bruno to Eva: "And now comes the question. All my friends waited for me, but this is my best friend....my "Black Friend"(a piano). What's going to happen to my friend when Bruno goes dead someday? Where are these things and these instruments going to end up? What's going to happen to them. Someone must answer this for me." (And then, they just stared at each other, throughout and after.....)

Above affecting sequence punctuated the bittersweet vulnerability of one Bruno S. As a simple, slightly challenged man-child, Bruno had very limited human relationships all his life. As such, he guilelessly transfers his genuine feelings onto "placebo" objects. But despite of his checkered past (years of physical abuse and institutional upbringing), this socially inadequate man ably exudes generosity, kindness and unguarded honesty. Given half a chance, he will just as likely shower his unconditional love onto those whom he cares for, namely Eva. (As was shown in one scene set to the haunting tinkles of Moonlight Sonata). All in, Bruno is thus an exceptionally good man. But will there yet be more to this Bruno than meet the eyes? I dunno....

Throughout this film, I am captivated by Bruno's earnest glow; so refreshingly tender and devoid of artifice. In reaction to his search for meaning in life, love and other myriad mysteries (like "birds confiscators" or "speed-talking" men - don't ask.), Bruno's expressive face never lies. I felt immensely privileged to share in his bliss (or despair) at any given points in time. This fascinating creature tugged at my strings more often in this movie than the combined twitches of so many affected actors out there. I friggin' love this charming dude and hence, I cannot help but root for the guy. You go, Bruno!

Like the best of Herzog's works, Stroszek boasts of many scratch head-worthy moments. (Especially considering my having seen the Enigma of "Heart of Glass".) But these pecularities only serve to propel my viewing experience into mystical realms. For buried within its seemingly artful surfaces, lies aching balms of "cinematic capsules". They will randomly burst and engulf the inclined and willing. They will seep into one's consciousness and never let you go. I hence don't think I can ever erase the wonderous memories of those stolen moments already, from "Peddling Sabine" to "Infant Gymnastics", from "Not 4, but 5" to "$32". Most infamously, how can I not mention that "Dancing Chicken"? Brilliant!

At this point, I will like to urge all to venture forth into Herzog's film universe. For if you're willing, or foolhardy enough to take that plunge, you may yet discover a film like Stroszek to be ceaselessly beautiful and effortlessly moving.

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.

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.

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.

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!