Daily Archives: Monday, June 13, 2016

  • The Enigma of Kaspar Hauser

    Jeder für sich und Gott gegen alle

    Werner Herzog (1974)

    In 1828 a youth called Kaspar Hauser appeared on the town square in Nuremberg.  He had very little language but, after first being exhibited as a fairground freak, was taken in by an affluent, elderly man with whose help he learned to read and write – and to be able to tell of his previous existence.   Kaspar spent the first seventeen years of his life locked in a cellar, with just a toy horse for company.  He had no human contact except through a black-clad man who brought him food and who, shortly before depositing Kaspar in the outside world, taught him a few phrases and how to walk.  Kaspar’s education enabled him to develop interests in logic, philosophy and music.  In 1833, he died as unexpectedly as he appeared, from a stab wound inflicted by a person and for reasons unknown.  In Werner Herzog’s famous film, the enigma of Kaspar is juxtaposed with a laborious and soon predictable demonstration of the varieties of human vice and folly – represented by clerics, a logician, a fencer, thickos who scare and laugh at Kaspar, a fairground proprietor.  (Kaspar’s being put on display as a freak also illustrates the meanness of the townspeople who take the view that he needs to earn his keep.)  The final emblems of inhumanity are the medics who dissect his corpse and explain his ‘abnormality’ as the result of an enlarged liver and cerebellum.   The Enigma of Kaspar Hauser is an example of a movie deemed to have intellectual substance because its moralising intent is so clear, not to say obvious.   As tends to happen in this kind of set-up, the benign if ineffectual characters – the elderly man who takes Kaspar in (Walter Ladengast), a motherly housekeeper (Brigitte Mira), a peasant family – are naturally and effectively played; the malign and/or representative ones are overdone, as ludicrous as they’re rebarbative.  A subset of other characters – most notably the wizened, crooked town clerk (Clemens Scheitz) – are so physically and vocally eccentric that the actors’ unvarying quality doesn’t matter:  they provide undeniably potent sights and sounds.

    Herzog departs from the facts in one important respect.  Bruno Schleinstein (‘Bruno S’), who plays Kaspar, was over forty when the film was made (although Herzog’s script still has other characters referring to him as ‘lad’).  Bruno S’s own experiences – he spent much of his childhood in mental institutions – are clearly meant not only to resonate with those of Kaspar but also to transcend quibbles around realism.  Bruno S dominates the film and Herzog said, on Schleinstein’s death in 2010, that he was by far the finest actor he’d ever worked with.  He may well be better than Klaus Kinski, Herzog’s best-known leading man, but it’s difficult to judge Bruno S as an actor in this film.  This wasn’t because I hadn’t him seen before – after this debut, he appeared in only two or three other features, including Herzog’s Stroszek (1977) – but because Kaspar is so very singular.  It’s therefore hard to read what you see as an actor’s performance.  Kaspar is some kind of visionary.  If not exactly a cliché, he’s a member of quite a large film family, of individuals who are not equipped to manage in the conventional world but who can somehow see beyond it:  the careful composition of his particular visions also suggests that he has the eye of an arthouse film-maker decades before the invention of cinema.  I’m not sure if my failure to work out quite how Kaspar develops intellectually is evidence of the enigma that he is or of my dim-wittedness.  I was intimidated by the prospect of The Enigma of Kaspar Hauser when I was a twenty-year-old and I’m relieved that I’ve not seen it until now – when I’ve reached an age at which I’m not so bothered about how stupid my reactions to a film may be.  The classical music on the soundtrack reinforces the movie’s unarguable artistic credentials.  The aggressive German title – ‘Every Man for Himself and God Against All’ – is much sharper and more challenging than the English one.

    10 July 2013

  • The Duke of Burgundy

    Peter Strickland (2014)

    Peter Strickland’s third dramatic feature is extremely stylish and sometimes funny but nothing like as funny as Stephanie Zacharek’s description of the film as ‘A complex and ultimately moving essay on the privileges of victimhood and the nuances of what it means to suffer for love’.  The Duke of Burgundy is situated outside a specific time and place.   Cynthia (Sidse Babett Knudsen), a lepidopterist, uses a manual typewriter to write up her scientific findings but neither the decor of the home she shares with her lesbian lover Evelyn (Chiara D’Anna) nor their clothes gives a clue as to the precise pastness of the story being told.  The setting is rural and sylvan, the local people are all women, and the cast are mostly (perhaps all?) non-native speakers of English.  Their accented voices, as well as heightening the artificiality of the piece, lend the proceedings a vaguely exotic flavour (and because the stress sometimes lands on the wrong English word, a disorienting quality too).  All in all, Strickland evokes once-upon-a-time-in-a-land-far-away a lot more effectively than Rob Marshall did in Into the Woods.

    We don’t know at first that Cynthia and Evelyn live together.  It appears that Evelyn is an uncomplaining skivvy and Cynthia her demanding employer.  Dressed in what could be a uniform, Evelyn gets off her bike and knocks on the door.  Cynthia opens it and tells her off for being late, before setting Evelyn to work on household chores.  These are followed by a giveaway foot massage.  It soon becomes clear that this is all part of the couple’s elaborate daily ritual, that Evelyn is a masochist and that she, rather than Cynthia, calls the shots in their relationship.  In the first of their bed scenes (which feature a reasonably disgruntled-looking Siamese cat, curled up on the bed), Cynthia says how happy she is to be with Evelyn.  The latter demands to be told otherwise and, when Cynthia obliges with critical remarks, asks for these to be delivered in a more convincing tone next time.  As Evelyn’s birthday approaches, the two women interview a carpenter (Fatma Mohamed) about a possible present from Cynthia.  It will take too long for the carpenter to construct what Evelyn would ideally like – a new bed with a built-in lower cabinet into which she can be locked while Cynthia lies above her.  The next possible item for discussion is a human toilet.  In the end, Evelyn has to make do with an unintegrated coffin-like chest in which Cynthia confines her until Evelyn asks to be released.  It’s to the credit of Peter Strickland and his actresses that they keep The Duke of Burgundy entertaining – and genuinely comedic, thanks to the straight-faced delivery of the lines.   This is true of the negotiations with the carpenter, the regularly recurring inserts of talks to a rapt audience on the finer points of lepidoptery and Strickland’s descriptions of the strains in a ménage based on theatrical sexual role play in general and masochism in particular.   (Jealous Cynthia sees Evelyn polishing boots for a neighbour and has to know if the neighbour chastised Evelyn for doing this badly.  ‘Only a little bit’, Evelyn insists.)

    Peter Strickland pushes the butterfly imagery too hard.  This is, from the start, inevitably reminiscent of The Collector and Strickland’s use of the creatures – larvae, pupae and fully- developed butterflies, flutteringly alive or pinned specimens on the wall – is, for all the technical ingenuity involved, obvious.  (This is why the verbal aspect of the film is more fun.)  Having set a narrative running, Strickland effects a crisis in Cynthia’s and Evelyn’s relationship, which the couple appear to resolve in a mutually satisfactory way.  Because this compromise would probably be anti-climactic, Strickland opts to end with a virtual reprise of the opening sequence (this time we also see Cynthia in the house awaiting Evelyn’s arrival) – but this is no less underwhelming as a finale.  All the cast are striking to look at but, with one exception, they come across as a series of arresting photographs, as masks rather than movie actresses.   Sidse Babett Knudsen (best known as the star of Borgen) is much more sensually alive than the others, even when Cynthia is snoring in bed.  While she’s physically imposing, she also conveys Cynthia’s discomfort getting dressed up in the figure-hugging dominatrix outfits insisted upon by Evelyn.  (Once Cynthia pulls a muscle in her back, while helping to drag in the birthday present, she has a good excuse for changing into loose-fitting pyjamas, to Evelyn’s horror.)  Strickland, with the help of his cinematographer Nic Knowland, luxuriates in the colours and textures of Cynthia’s wardrobe but he’s attentive too to the textures of her ripe and ageing flesh.  The statuesque Sidse Babett Knudsen, because she humanises Cynthia, is occasionally affecting.    But The Duke of Burgundy is essentially a sketch stretched into feature length by Peter Strickland’s film-making artifice.

    23 May 2015

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