Herzog is a frustrating director but if you ignore his self-indulgence his films have a strength which is to be widely admired. 'Kasper Hauser' is one of his more intimate films which suffers because the slow, languid, drawn-out scenes become the heart of the film, and as such things slide into a virtual catatonic state.
In 'Aguirre: Wrath of God' and 'Nosferatu' there is a stronger narrative and a variety of locations which support the slow, poetic pace. For Herzog fans though 'Kasper Hauser' peaks in the first minute with Pachelbel's 'Canon' ( my favourite piece of classical music, also used at the end of 'Ordinary People'), and a breathtaking shot of a windswept cornfield. From here the film develops slowly and methodically, but never moves out of first gear.
There are still things to admire about 'Kasper Hauser', and it still rates as a must-see for foreign film fans. It seems though that the films shortcomings, which result in it being an average film, have been misread by the unguided who have elevated 'Kasper Hauser' above its station.
In 'Aguirre: Wrath of God' and 'Nosferatu' there is a stronger narrative and a variety of locations which support the slow, poetic pace. For Herzog fans though 'Kasper Hauser' peaks in the first minute with Pachelbel's 'Canon' ( my favourite piece of classical music, also used at the end of 'Ordinary People'), and a breathtaking shot of a windswept cornfield. From here the film develops slowly and methodically, but never moves out of first gear.
There are still things to admire about 'Kasper Hauser', and it still rates as a must-see for foreign film fans. It seems though that the films shortcomings, which result in it being an average film, have been misread by the unguided who have elevated 'Kasper Hauser' above its station.