Un principio que me recuerda a la historia de Segismundo. El descubrimiento de un mundo externo es el (des)encuentro entre la realidad y un mundo inventado, una especie de sueño. Herzog apela a un personaje de historial enigmático, dueño de una filosofía incipiente aunque profunda. Es el sabio que entra en conflicto frente a las fantasías de "lo real", conceptos impuestos que lo frustran. Su destino es su extinción.
The logician, the priest, the mountebank, the dilettante and the philanthropist all try to make Kaspar see the world through their eyes. He resolutely sees it only through his own showing them up as shallow creatures lacking the humanity that he has in such abundance. A masterpiece.
Kasper Hauser never dreamed in the cellar, he declares, but the truth is that he knew of nothing else than the cellar to dream about. This movie creates a perfect balance: it is one with great content and it is one with a great cinematography accompanied by a great soundtrack.
"Why is everything so hard for me? Why can't I play the piano like I can breathe?" Kaspar is, in fact, an enigma. We are told the beginning, middle and end, but made to watch all the same. Instead of an exercise in why, things shift to the inexplicable -as though told by the protagonist. What a narrow color bandwidth -all blue. Absurdity is ripe in every scene. Well composed and content in its wonder. Very Van Gogh.
Self-important. Further, it promotes lyricism as an alternative to rationalism. Sure, it doesn't make a lick of sense that someone could live in an unmoving position for seventeen, but if it's all set to Mozart and noble savage sensibilities then...forget it?