Remarkable adaptation of the Kaspar Hauser myth that seems to provide historical insights into a society that is built upon quasi-scientific voyeurism, yet its satyrical characters and anarchistic humour (as well as its dreading existentialism) makes this a cinematic experience very much based in the 1970s. This is Herzog on top of his "auteur"-game, which marks only one of his many metamorphoses.
It is the most philosophical film that I have ever seen. It contains destructive critique to western culture and the structures on which this culture is based. The logic [derived from Greek λόγος) is at the center of every kind of reasoning in Western Thought since Parmenides. In turn, this spreads into all the life. This film is smal scale revelation and critique of this kind of reductionist formalism.
Herzog, on his historical 'Enigma' (or the way better, less American, title 'Every Man for Himself and God Against All'): “It is not the accountant's truth of cinema vérité; it is an ecstatic truth...” Which, when you write a film based on an extraordinary story, then just happen to find, by chance, an unknown with an improbably similar story to play the lead, seems a reasonable claim. Existential & ambitious. 4.25
It seems likely the actual Kaspar Hauser was simply a pathological liar, but Herzog is more interested in the idea of someone like Hauser rather than a literal biography of his life. Someone who is strange and innocent, raised completely separate from the rest of the world, and then suddenly confronted with modern society. An excellent film, with a suitably strange performance from Bruno Schleinstein.
Une enigme non résolue mais une narration qui ne cesse de la rendre problématique. C'est un film qui restitue toute l'ambiguïté des "enfants sauvages". L'éducation ici n'est qu'une "chute" remettant en cause toutes nos idées reçus comme celles des séminaristes demandant à Kaspar Hauser s'il dispose d'une "idée innée de Dieu"...
Deceptively gentle upon first appearance, but it seems angrier each time I view it. A howl against man's civilising impulses, transfigured into a lyrical ballad. Most remarkable is the fact that Herzog can play Pachebel's over a shot of a field of rye blowing the wind and it not feel trite or kitsch, but simultaneously terrifyingly blank/other and as ecstatically beautiful as a mirage.