Sobre secretos llevados a la tumba y visionarios de fatalidades. Herzog promueve la historia de todo un pueblo destinado a la decadencia. Es el fin de una era de bonanza. La autodestrucción y la locura como respuesta a esto. "Corazón de cristal" tiene un inicio pictórico, uno que recuerda a ese cuadro Friedrich, El caminante sobre el mar de nubes. Su protagonista aspira a eso: la soledad, la naturaleza y experimentar
Because this Flemish-painting-come-to-life was so against the grain of the wired 70s, it struck a resonant and influential chord; it's easy to imagine Lynch, Tarr, von Trier, Korine all over this movie. But although, for me, it never becomes more than the sum of its parts, I did find it fascinating and often very beautiful. It also helps that it has a sense of humor about its own weirdness.
the mesmerizing cinematography makes it -- reitwein also worked on kaspar hauser. from now on i will only watch herzog films reitwein worked on. it feels like a very good late era bunuel, except a better film than bunuel would ever have the inclination to make.
Despite initially enigmatic formalism, there are glimmers of future Herzogion poetics. Yet, what's most amazingly symbolic is the extended shot where glass-makers work glass, tying the polarities of heated air and maluable material; further representing the clouds and earth, liars and thieves, soothsayers and capitalists. To foresee results of labor one must give in to uncertainties behind dreams or future visions.
Herzog's weird and wonderful film is visually spectacular and strangely hypnotic, an appropriate description for a production that is infamous for the hypnotism of its cast. Based on Bavarian folklore, the plot concerns the crisis which descends upon a village when the foreman of the local glass blowing factory dies without revealing the secret of how to make its famous ruby glass. Challenging but rewarding viewing..