In a police station a dwarf is seated on a chair. He is photographed and then interrogated about acts of violence he committed during a revolt. The story thus turns back in time, to when the dwarfs, detained in a correction facility, took advantage of the director’s absence to rebel.
“You might as well confess—we already know.” One of Herzog’s earliest films, released when he was just 27, this trippy nightmare shows how much his sensibility had formed: an obsessive skewering of megalomania; a unique eye for otherworldly locations; and a dollop of absurd, grotesque humor.
When watching this film, one is instantly struck with the feeling that it would be impossible to make today, not even Herzog himself could get away with it now.It has an intuition and flow that feels completely improvised, and I would not be surprised if most of it was.
What can I say? The last few films of Herzog's I have watched have been absolutely captivating, this film is all things, ridiculous, moving, challenging, hypnotic. Lot's to gleam I'm sure. A first. A haunting madness. Herzog describes this film as a nightmare, and it is one that will haunt you for some time.
"Nightmare" is right—this film is less written than it is unleashed, with the camera scrambling to catch as much of the chaos as possible. As a sideshow with some stomach-turning animal cruelty, it's virtually an exploitation film servicing a rather potent vision of the insanity of political revolutions. Not sure how I feel about Herzog using real little people as metaphors. But you won't easily forget what you see.
Of course, you can consider the film as the allegory of Revolution but I prefer to see it as a long nightmare filmed. Hens become cannibalistic, blind dwarfs play petanque, their comrades throw spaghettis at a car going round in circles, the police forces don't come, a prisoner who is laughing without reason, in fact everybody laugh without any reason at all. A nightmare, no more than a nightmare filmed. Frightening.
En este festival de anarquía y destrucción, Herzog consigue lo que quizás sea su mas caótico acercamiento a los límites de la razón. La locura aquí es el conductor general de las acciones de un grupo de personas que tienen como único objetivo derribar todo atisbo de razonamiento. La cámara de WH adopta también esa mirada delirante y consigue, como siempre, retratar la mas desolada belleza que yace en todo los caos.