German Movie Reviews

Absolutely brilliant. Stroszek is THE quintessential film on the American experience. A dark fable revolving around the hopes and dreams of three postwar Germans and the disintegration of a relationship. But also incredibly funny and cynical. Herzog's best film to date, in my opinion.

Werner Herzog's Stroszek (1977) is one of the ten greatest films ever made. It's almost equally as good as Herzog's The Enigma of Kasper Hauser (1974) and Aguirre the Wrath of God (1973).

Bruno S., the unknown soldier of cinema once again gives one of the finest performances I've ever seen. Eva Mattes is also wonderful as the prostitute Eva who along with Bruno and Herr Scheitz decide to emigrate from Berlin to Wisconsin to fulfill the elusive American dream. This tragicomedy is one of the bleakest films I've ever seen and also one of the funniest.

Herzog's brilliant film making style gives the entire film the look and feel of a documentary, yet like all of his films Stroszek is highly stylized. An absolute masterpiece! Rating: A 10 out of 10.

Superb direction.

Once again, Herzog takes relative unknown and fairly untested talent, mixes in a few real actors and come away with a movie that's much,much more than following the typical storyline to the end.

As funny as you want, as dramatic as possible. Herzog is a genius. He's done it again!!!

This is a sad and eerie film, in some ways similar to those of Godfrey Reggio. Werner Herzog and a camera crew toured Kuwait and environs in the wake of the Gulf War and documented the destruction (both physical and human) wrought by Saddam Hussain's armies in the oil fields and by the bombing of strategic targets. But instead of presenting a straightforward story about a historical event, Herzog created a science-fiction parable. The entire movie has a strange, detached tone; we see horrendous destruction, rooms full of torture equipment, and victims of brutality, but there are no cinematic clues about how the 'aliens' who supposedly made this movie feel about these things; their attitude is implied rather than stated. There is no need to play up the events; seeing them is enough.

"Fata Morgana" is similar in some ways, but it is more disconnected and humorous, portraying another trip-- this time through northern Africa. And, like "Lessons of Darkness", it manages to portray Earth as a particularly weird planet. An especially interesting point is Herzog's commentary about the mirages that he filmed; we can see that there is a bus (for example) in the distance, but Herzog tells us that when they went to the place where the bus should have been, they could see that there was nothing for miles around... "Fata Morgana" is not as cohesive as "Lessons of Darkness", but its tone is much lighter.

No aspect of Lessons of Darkness can be praised too highly. What I'd like to know is, how can I find out the artists who performed the various musical works? Herzog has chosen the most sublime renditions of his sublime selection: Verdi's "Recordare" from the Requiem, and similarly the best of Strauss, Wagner and so on. I'd like to gt the same recordings. Any help? Thanks in advance: send to johnwood@umich.edu

Fata Morgana is an absolute masterpiece. It's Werner Herzog's most unconventional film and the most bizzare film I've ever seen. It doesn't have a plot or story. Instead, we're presented with a brilliant collection of images, words and music woven together by a master filmmaker. Fata Morgana is not a documentary either. Most of the people in this film are directed and given lines to read. It has some of the most beautiful and haunting images ever commited to film. Herzog photographs actual mirages and we see cars and people floating around in the middle of the desert who aren't actually there but hundreds of miles away reflected due to the heated strata of air. All of the tracking shots were done with a camera mounted on top of a VW van that Werner Herzog drove himself. The use of music in this movie is amazing; from Leonard Cohen, Mozart, Blind Faith and the Third Ear Band. Imagine Stanley Kubrick's 2001: A Space Odyssey taking place in the desert instead of outerspace. Fata Morgana is so hypnotic that it has the ability to make you feel as though your spirit has left your body. This film is a must see and is not recommended for conformists who've been forced fed a steady diet of Hollywood-commercial fast food movies. It will change the way you view films. Rating: 10 out of 10.

It is fair to say both Herzog and Kinski are insane people. Why? Because they chose to work with one another five times. Herzog is a great director with a great vision, but is obsessive and it is hard to decipher his wicked humor from truth. He once said he regretted for not having accepted the offer the Indians gave to him during the shoot of "Aguirre: The Wrath of God" in the Amazon of killing Kinski because Herzog needed him for a couple more shots. Or when he threatened to shoot Kinski if he left the filming of the movie. Funny but disturbing remarks. Truth or lie...we don't know. Klaus Kinski is also an odd character, and it is best exemplified through his energetic and chaotic personality of his characters. Due to his eccentric traits, it is no wonder Kinski has only worked with directors for only one time; except for Herzog; whom he worked with five times. It is fair to say both of them are quiet insane. Yet, they produced some of the richest film in cinematic history. Starting with "Aguirre: The Wrath of God," one of the greatest visionary movie that can truly be termed "epic." Then there is "Fitzcarraldo," with its magnificent view of the boat being dragged up a mountain, and also "Nosferatu," perhaps one of the greatest remake. Then there are the good but not great pictures such as "Woyzek" and "Cobra Verde." Nonetheless, this collection is a must own because Kinski and Herzog are one of the best collaboration of director/actor. It includes the documentary "My Best Fiend," which is about the relationship of both these extraordinary and unique human beings. I recommend true moviegoers to at least view one of Herzog and Kinski's movie together and you will immediately be dragged into their odd world of hatred and spite and respect towards one another. It is a shame not many recognize Werner Herzog because he is one of the greatest directors and his new film "Invincible" is one of his very best and is in my list as one of this years best picture. Kinski is not the greatest actor, but his duet with Herzog brings out the best in him. His performance in "Aguirre: The Wrath of God" is one of the greatest and bids comparison with Maria Falconetti in "The Passion of Joan of Arc," Brando in "The Godfather,""Last Tango in Paris," and "Apocalypse Now," and De Niro in "Taxi Driver," just to name a few. But not many have witnessed this picture and that is a shame. This collection is a great way to start the exploration of Herzog and Kinski; an actor who's as crazy onscreen as he is offscreen, and a director who is willing to kill to fulfill this vision...

I'd like to add some technical details for this DVD-set:

This DVD-set can't be with region 1 code, because my DVD-player is with region code 2 and plays this DVD-set complete. It must have region code 0.

This is a gift from the Gods. All the combined works of Kinski and Herzog in one packaged set. I pre-ordered it the minute I saw it. Just having "Nosferatu," "Aguirre," "Fitcarraldo" and "My Best Fiend," in a set would be cause enough for joy. But ALL of their movies together is fantastic. If you are a film fanatic, you cannot live without having this most shining moment of German film. If it ever goes out of release, you will be able to sell it for a fortune as a collector's item, if you can bear to part with it. I separately review the movies in here under their own titles so will not attempt to do that here.

Werner Herzog makes great and fascinating movies - there's no doubt about it. His films are just "neat" (for lack of a better word). I love Herzong's films, and the "Enigma of Kaspar Hauser" is one of his best. This movie represents well, the Romantic era in general. It's very well done, historically.
I don't know much about the true story behind Kaspar Hauser's life: who he was, where he came from, etc., but this movie held my interest deeply. It was a perplexing and stimulating story that truly made me think about a lot of things.
Bruno S. always wanted his identity to be kept somewhat secret, so that is why we call him "Bruno S.". You gotta' respect that kind of "anti-Hollywood" mentality - that's so antifamous and noble. The lead character is brilliant in this film and Bruno S. should have received an Oscar. This is a true and genuine performance; so real. This is one of those roles that no one else could have ever played. It was made for Bruno and he for it. Bruno S. is Kaspar Hauser and Kaspar Hauser is Bruno S.!
This movie is wonderful - I loved every minute of it. Werner Herzong is a genius and Bruno S. is a natural!

This DVD comes with a nice picture (slightly grainy) and with a commentary soundtrack by a film critic interviewing director Werner Herzog himself.

...there are great movies, and then there is "Kaspar Hauser". Those unfamiliar with it, or unfamiliar with the films of Werner Herzog in general, should remedy the situation at their earliest convenience.

If you have ever been stirred to the marrow by a film performance, grab plenty of Kleenex -maybe don a raincoat- before sitting down to meet Bruno S.

God bless Werner Herzog.

Not only is The Enigma of Kaspar Hauser Werner Herzog's best film but it is without question one of the 5 greatest films of all time. This movie has some of the most astonishing and powerful images ever committed to film. One of the opening shot's is that of a wheat field blowing in the wind while Pachelbel's Cannon plays and the following words appear on the screen; "Don't you hear that horrible screaming all around you? That screaming men call silence." This sequence perfectly captures the essence of this film. The beauty of suffering seen through the eyes of a man that is completing untainted and untouched by society. This movie will change your life. This movie has amazing cinematography, a genius use of music, astonishing performances and Werner Herzog's direction is unbelievable.

While perhaps not quite in the same league as M and Metropolis, Spies (Spione) is really great in its own right, and a testament to the diverse film making skills of its director, Fritz Lang.
Spies is like the 'Bond' of silent films. Indeed, watching the film its hard to believe Albert Broccoli did not use Spies as his prototype for all the James Bond films he produced.
The story opens with the assassination of a diplomat for some documents. Chaos reigns... but then we are introduced to the hero, No. 326. 326 is the master spy who must retrieve the documents, and save the world from the evil banker Haghi (wheelchair bound). In between there's a woman sent to spy on 326, who in fact falls in love with him.... sure, you've seen this before but this film is the original, the real thing, filmed almost 35 years before Bond et al ever made it to the screen.
Spies is simply great fun!
This disk also includes a very scratchy Fritz the Cat cartoon, which I quite enjoyed despite its age and condition, and Lang's classic 'M.' The transfer of M is not bad, but cannot compare with Criterion's version. If you buy this disk, well, you get M but the real treat is Spies.
Regarding the print of Spies, quality is not bad but hardly a great restoration either. Still, the film is quite watchable: impressive for a 75+-year-old print. Like Metropolis, there's a little controversy as to the run time of Spies. This version is 90 minutes, but I've seen listings showing a German version of 178 minutes at a very slow frame rate of 16fps. I don't know if this version has been cut, or if the 178 figure is even correct but its worth mentioning.
Also, for true Lang fans, Kino is supposed to release a fully restored version of Spies (to match Metropolis???) sometime in Fall, so perhaps the mystery will be solved then.
In any case, for now this is the best you will see of this film, and its worth buying and watching even in its present condition. A gem of filmmaking is still a gem despite some scratches on the print!

As I am sure you know there are a lot of budget, poor quality, DVDs out there of Fritz Lang's Films. This great release from Whirlwind is not one of them! The transfer on "Spies" is excellent. The image is very detailed and crisp, there are nicks and scratches throughout the film, but this is to be expected. Only a major restoration could make this film look better. This disc is dual-layered and it seems to show as the video compression looks very good. The audio track on "Spies" contains a very nice organ score that suits the film well. This disc also includes a fair/poor quality of "M". It actually looks far worse than "Spies", but to be fair, I think the source print for "M" must not have given them much to work with. The audio track on "M" is fairly dirty, which takes away from its overall presentation as well. If you are looking for the best version of "M" you will have to get the Criterion version, but if you are looking for a solid edition of "Spies" look no further.

Despite the incorrect running time listed for "M" on the packaging ("71 minutes"), this cut of "M" is over 98 minutes long, and contains much footage I've never seen before. It remains a riveting thriller, and I highly recommend it. Although I'm a fan of Lang's work, I had not seen "Spies" before. It was also impressive, and quite entertaining.

I thought the DVD transfers were good, and at this price it's a great bargain.

"You are not free not to choose". Kessler's efforts to remain in gray area makes him the only sinner in a railroad-hypnotic view of Germany right after WWII.

Zentropa is simply the greatest film since "Citizen Kane." An American works as a sleeping-car conductor on a German railroad in late 1945. Viewers should note carefully the course of a dinner conversation early on in the film where neutrality is condemned by a priest: this is the theme of the film, with a profound relevance to today's political events. Try as he might, the American's attempts to be a understanding "nice guy" serve only to tighten the noose. Yet to be passionate and follow one's beliefs wherever they lead is shown to lead to disaster as well. We are doomed to go through the night of mass murder and war if we are to see the light of day.

The cinematography, utterly commensurate with the claustrophobic theme, brilliant in its conception, an encyclopedia of noire technique; most of the acting; and the conclusion, rivetingly harrowing as any in cinema--all come together in a magnificent work of art that belongs on the shelf of anyone who understands the power of cinema to speak to the heart and mind co-equally.

The best film that Lars von Trier directed, better than the more well known films"Breaking the Waves"&"Dancer in the Dark".Although the critics didn't pick it up, this film,I believe, must have been influenced by Herman Melville. It has the theme of an innocent man who ends up dead under the water due to his hubris and naivete. It tells the story of Kessler, an American who makes the fateful decision to become a sleeping car conductor in 1945 Germany. He is beset by his cranky uncle who is his superior at work, he is seduced by asympathizing femme fatale, among other events. The movie has both substance and style and is never short of fascinating due both to its plot as well as the directorial technique. The performances are outstanding. It is highly recommended.

Considering all of the hoopla surrounding "Far From Heaven" - excellent though it is - one should not forget this earlier tribute to Douglas Sirk - and in some ways more fitting .....

Considering the unglamorous framework used by Fassbinder 'reducing' the elevated Jane Wyman [Julianne Moore] role to a blue collar charlady {the very superior Brigitte Mira} this version speaks volumes and addresses perhaps the universal fear of the 'slightly different'.

Very unsettling to watch 30 years ago - still unsettling under today's 'wraps'.

The movie starts out with groups of people staring at each other which would make anyone feel awkward or different. The directing style reflects distance by showing people far away and then bringing them up close in tightly cramped spaces. The fear is what separates people and eats at you. This is symbolized by Ali's stomach ulcer. In order to connect you have to stand together against all the prejudice and ugliness out there and treat each other well. The more we treat each other with respect the more we can stop the fear growing inside of us. At least this is the way I perceived the film. The director filmed this in 14 days and it was a very small project compared to other movies he made with big budgets. The Arab husband was really the director's lover. The director himself was gay and probably experienced prejudice himself. The movie is slow and awkward but I think it is meant to be this way. A definate must see for anyone who likes foreign film. It is probably one of the best as far as the message it displays and projects on film.

Lisa Nary

In `Fear Eats the Soul` Fassbinder examines a range of social prejudices that divide and stigmatise people.The central plot strand concerns Emmi, an elderly widow who falls in love with and marries Ali, a Morrocan guest worker.This relationship gathers a cluster of hostilities before itself imploding as the two partners fall back into conventionalised patterns of prejudice and desire. The film ends with a moving image of doomed reunification, which itself symbolises the entire relationship. Fassbinder`s achievement in this film is showing how a spectrum of social tensions reinforce and amplify each other. The scene in which the newly married couple clumsily try to navigate through a menu in a high class restaurant, with the aid of a sneeringly contemptuous bourgeious flunky of a waiter, is an example of Fassbinder`s sophisticated handling of his subject matter. Similarly, the unravelling of the relationship, as Emmi and Ali revert into familiar patterns of loyalty and exclusion, is sensitively handled. This is a superb film that never falls into lazy sentimentality or cynicism. It is a testament to the ability of the cinematic medium to explore social issues intelligently. Highly reccommended.

great movie and its a tv movie and i enjoyed it beacause I love James Dean. Franco is really the person to do the job ro retell how his life went and how it suddenly left after the tradgic car crash. thought the movie at the end said the guessed on some of the parts and it doesnt bother me. the actors really doa good job portraying who Dean worked with. a gem of a movie. a must have in anyones collection or if anyone is a fan of Dean

James Franco does an amazing job portraying James Dean. He portrayed all of the sadness and pain in Dean's life with such accuracy that it is no wonder he won an award for his performance. This biography wasn't dry or uninteresting. In fact, it captures your attention from start to finish. Anyone who wants to learn more about James Dean or simply watch an interesting bio should definitely see this movie!

I've read a number of biographies on James Dean. This movie touches on many of the well known events in Jimmy's short life, giving the viewer a front row seat all the way to his last moments. Having seen this version and the version starring Casper, which had me channel surfing within the first 15 minutes, this is the DVD to buy.

While not a world class musical, "Hot Summer" was certainly in the league of its contemporary American models. If you've seen the documentary about communist bloc musicals, "East Side Story," you know that because of the communist system DEFA made very few musical comedies, so it's amazing that this film is as good and polished as it is. The director was talented and several of the actor/singers are very charismatic and likely would have done well in the West. In some ways the characters were more mature than their counterparts in Hollywood beach movies. For example, one character discusses the possibility of pregnancy.

Still, this is a fun film. I hope Ice Storm International and First Run Features will bring out DEFA's "Midnight Revue" and "No Cheating Darling;" I think they'd do well.

Personally, I did not see the documentary 'East Side Story,' so I have no idea how this film fits into a larger social framework, or anything like that. What I do know is that this is very possibly one of the funniest movies I have seen in a long time. If you're a fan of Oststalgie, then this movie is definitely for you! Truly you have not lived until you have seen two people dressed up as haystacks performing a choreographed number. Buy it and show all of your friends; it will make the world a happier place!

I would agree with everything the last reviewer said abotu this film EXCEPT for the political part. This film was made by DEFA, the East German state run film company. While on the surface it does seem like an innocent film about prank playing teenagers at a beach on summer vacation, I believe there is a subtext of conformaity and a celebration of East German industry.
The group of 10 guys and 11 girls can almost be seen as one person. They are almsot identical to each other...a theme even more reinforced by the scripted dance scenes. When one of them breaks from the group to be with a girl, it is up to the group to "save him" from himself (quoted quite nicely in the line, "Are we a group? Or a common bunch of thugs"..sorry something to that effect I don't have my tape with me to refrence the line).
Also apperaing throughout the film are symbols of East German industry...farming, fishing..and to top it off quite nicely a shot of speeding train wheels (along with the train) that Eistenstein himself would be proud to see.
Also to note while most DEFA films (Traces of Stone, Berlin Sholhazen? corner) portrays the EG police as no better then the STASI (secret police) here we have accepting, almost sympathetic police officers who help the kids out of a jam.
Overall though a very fun viewing on many diferent levels.

If it is possible to be ostentatiously chaste, Eric Rohmer's THE MARQUISE OF O... is an example of it. Sometimes witty, always stunningly beautiful, the film is so self-consciously muted in style, so obviously different from the blare of standard Hollywood, it can't help calling attention to itself. It is thus not quite as modest as the style would suggest. Even understatement, pursued doggedly enough, can become a form of showing off. Besides, there is plenty to testify to Rohmer's ambitions.

Based on Heinrich Kleist's novella of the same name, MARQUISE is a perfect example of "literary cinema," with all the baggage such a label implies. None of Rohmer's films are meant for a mass audience. They announce their refinement with their limited situations, articulate characters and toney references. Here, after Kleist's novella, the primary proofs of cultural worth are painterly: set in the Napoleonic era, the film's visual style is obviously modeled after Neo-classical and early Romantic painters. With a heavy reliance on the skills of master cinematographer Nestor Almendros, Rohmer uses Kleist to create a cozy, Biedermeier world of diaphanous Empire gowns, heavy velvet draperies and formalized domestic routine.

In itself, there is nothing wrong with this. Certainly Rohmer's work is preferable to, and much more interesting than, such similarly respectable literary adaptations as the bloated, otiose and cinematically dreary Merchant/Ivory productions. No matter how precious or theatrical the film may get, you never doubt that you're in the presence of a real filmmaker. Rohmer has *chosen* to reduce the experience to essentials, he's refined and polished the experience to a high gloss, so there's nary a gesture, inflection, camera movement or lighting set up that hasn't been thought out in terms of the overall design.

Which no doubt structures how most people reaction to it. If you can respond to such highly mediated and controlled experiences, you will probably enjoy the film, not just for the delicious ironies of Kleist's story, but for the elegant skill with which it has been mounted. If you find such refinement insufferably mannered, pretentious and more than a bit self-preening, you'd best stay away. For myself, this is only one of three Rohmer films that I have seen. I found the other two almost unbearably arch. With the help of Kleist and Almendros, however, Rohmer makes MARQUISE into a delightful, visually exquisite comedy of manners.

"The Marquise of O" is one of Eric Rohmer's historical films. This story takes place during the Franco-Prussian War. One night as the Russians attack, the Marquise, a young widow with two children, is assaulted by a band of Russian soldiers. Fortunately, she is rescued by a young Russian Count. Several months later, it becomes apparent that the Marquise is pregnant, and no one believes her protests that she hasn't touched a man since her husband died.

When the film begins, we are supposed to believe we are watching a scene from the Franco-Prussian War. The war really boils down to a few puffs of smoke and some of the plaster coming off of the ceiling. Rohmer just doesn't portray these sorts of BIG scenes well--I suspect budget--or the lack thereof--may be at the bottom of this. Anyway, the BIG scenes just don't work. They don't seem authentic at all. Then when the Count saves the Marquise from a fate that is apparently worse than death, it is a bit corny. But those are the bad bits. Get over that, and watch the rest of this film.

The very best things about this film are the philosophical questions raised by the dilemma of the pregnant Marquise and her pesky, persistent suitor--the Count. How does one accept a knight in shining armour who has fallen from his pedestal? Are the actions of the Count motivated by guilt? How does one align the fate of the Marquise's would-be-attackers with the behaviour of the Count? Is forgiveness possible? Also, the class attitudes were quite fascinating. When the Marquise discovers and accepts her pregnancy, the lower classes exhibit a sort of sly, knowing joy in her dilemma. Both the Dr and the midwife have seem these sorts of situations many times before, and they are all too familiar with the denials the frantic Marquise makes to her unbelieving family. The sudden, unwelcome familiarity--of both the Dr and the midwife--evident in their tone shifts when speaking to the Marquise--indicates that she is about to experience a decline in society.

I really enjoyed all the characters in the film very much. The Marquise's father was splendid--especially when he raised his pistol. The Marquise's mother swoons, hardens, and gets mushy at times, but then she decides to take the more practical approach and get to the bottom of the scandal--even if this necessitates some deception on her part. I found it amusing that the Count's persistence when courting the Marquise flummoxed everyone as his behaviour was beyond the socially accepted norms.

Eric Rohmer films are noted for their dialogue and the philosophical debates the characters have with one another as they wrestle with relevant issues. These debates are missing from this film--indeed Rohmer's historical films--are to me--not his best work. Nonetheless, that said, I did enjoy the film immensely--displacedhuman.

Kleist's writing interests me because of the frailties and strengths of his characters. Is it possible to save a woman from rape, rape her yourself, seek to hide what you've done and to make ammends, and in the end still be something like a decent person? Maybe. Do good people do bad things? Yes. Is not a certain willingness to forgive weakness necessary between humans? Certainly.
Rohmer captures the feeling Kleist's story beautifully. He is careful to show the strengths of the women, they aren't passive and dominated within a patriarchal society--important in a film wherein the leading man commits rape, and the leading woman eventually forgives him.