the enigma of kaspar hauser analysis

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Plot Keywords Herzog discovered the lead actor, Bruno Schleinstein, in a documentary about street musicians Bruno der Schwarze, es blies ein Jäger wohl in sein Horn (lit. The music of several classical composers is featured in the film's soundtrack, including pieces by Johann Pachelbel, Orlande de Lassus, Tomaso Albinoni, and Wolfgang Amadeus Mozart. Herzog once visited him in his hotel room, to find him sleeping on the floor by the door, in his costume. In Herzog's commentary for the English language DVD release, he recalls that Schleinstein remained in costume for the entire duration of the production, even after shooting was done for the day. He cares not for accuracy but for effect, for a transcendent ecstasy. So many of Herzog's protagonists, real and fictional, have such dreams of escape, and are so intensely themselves that they carry his purpose unthinkingly. Hauser soon learns to read and write, and develops unorthodox approaches to logic and religion; but music is what pleases him most. Bruno the Black One, A Hunter Blows his Horn). Taglines The film is often linked with Truffaut's "The Wild Child" (1970), set in the same century, about a boy who emerged from the forest possibly having been raised by animals. The casting and character names are based on the submission to the Academy of Motion Picture Arts & Sciences. An English-language translation of the screenplay was published in 1980.[7]. The film follows Kaspar Hauser, who has lived the first seventeen years of his life chained in a tiny cellar with only a toy horse to occupy his time, devoid of all human contact except for a man, wearing a black overcoat and top hat, who fed him. This summary of plot sounds like a fairy tale—and it is. | Most of Herzog's films recall fables, and that is surely one of the reasons for their success. It won the Grand Prix Spécial du Jury, which is the second prize for films "in competition" at the festival; the first is the Palme d'Or. The film's landscapes, its details from nature, its music, all embody the dream world Kaspar entered when he escaped the unchanging reality of his cellar. These images are unrelated to Kaspar except in the way they reflect and illuminate his struggle. He is then physically attacked by the same unknown man who brought him to Nuremberg. I think it was because he knew of nothing else than the cellar to dream about. It is the mystery that attracts him. [9] Schleinstein was credited only as "Bruno S." in the film. His difficulties in communication are not the result of any linguistic inadequacies; simply, he is "different" from other men. The last thing Herzog is interested in is "solving" this lonely man's mystery. [9] The film is included in a Blu-ray (region-A) collection of Herzog's films that was published in the US in 2014. On the commentary track Herzog says he was vilified in Germany for taking advantage of an unfortunate, but if you study Bruno sympathetically you may see that, by his lights, he is taking advantage of Herzog.

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