Werner Herzog's films reach emotional and aesthetic levels that few directors can aspire to. As one of the rare film-maker's more concerned with the artistry of their work than what they achieve at the box office, Herzog is nearly peerless in his purity and ideosynchrasy. Herzog uses the film medium as a moving canvas upon which he expresses, affects, and creates nightmares and dreamworlds which are so vividly real that they threaten our own naturalized consciousness of the projection we call reality.

So much for the postmodern gobbledygook. As you can tell, I love Herzog.

This early film deals with many of the familiar elements that tend to permeate Herzog's films - cultural critique, the insanity of everyday life, alienation, cruelty and power. But here, Herzog uses a true story of 19th century Europe as a vehicle, and treats his subject with an unusual compassion and straightforwardness.

Herzog's incredible casting talent also shows here, just as it does in all of his films. I do not wish to take anything away from the great performers, but really, how does one manage to choose an actor whose life experience is broadly similar to that of Kaspar Hauser's without knowing of it beforehand? This film blends somewhat disjointed artistic imagery with the true story of Kaspar Hauser, a man apart from society who has been kept in a cellar all of his life, and is suddenly expelled into the light in Nuremburg. He is adopted by a kindly old gent who attempts to socialize him in what appears to Kaspar (and perhaps to us through the film's clear vision) an insane society full of lies and contradictions. All of this is done with the believability that is so consistent in Herzog's theatricality, and the visual quality that qualifies him as a true cinematographic artist.

This story, based on a real life person who was raised in a basement until age 18 is highly reminiscent of Truffaut's movie "Wild Child", though it did not seem quite as engaging or interesting as the French film. That is not so say that this film is bad--it's just that if you MUST see only one film about a feral child, Truffaut's film is better (though it does take many liberties with the true story of Victor, the Wild Child). This is because The Mystery of Kasper Hauser is slightly less artistic overall--with a musical score (with Pachelbel and Albinoni) that isn't quite as good as the Vivaldi score in Truffaut's film. One thing I did like particularly about this German film, though, was the autopsy scene at the end. It WAS creepy and sick in a way but was also a great way of illustrating the detached way Mr. Hauser was seen by others (i.e., more of a specimen than a man). A good film overall and I was impressed that they didn't tack on a happy ending, as the real life Kasper Hauser was indeed a sad tale.

A great little Herzog movie. I remember seeing the first half of this on TV many years ago. I was late at night and I fell asleep, but always wanted to know what happened. Something about the acting of Bruno S. haunted me - I had to know the full story.

I'm lucky enough to have just seen the whole thing for the first time, and for me this is a real classic. It's based on the true story of Kaspar Hauser, a real-life enigma of the 19th century. He was apparently brought up locked in the room for his childhood and teenage years, with little human contact or indeed contact with the outside world. He was then dumped and left to fend for himself in an alien society.

Inevitably the story draws comparisons with the likes of THE ELEPHANT MAN and it's clearly a labour of love for Herzog himself, who had tackled similar themes of isolation in his documentary LAND OF SILENCE AND DARKNESS. It's a stunning movie - heartfelt, full of emotion and sadness. The wonderful cinematography is a real asset, but it's Bruno S. who makes the film for me - he's completely sympathetic in the leading role. THE ENIGMA OF KASPAR HAUSER is one of those quiet, unassuming movies that grows on you all the time, and far more memorable than many a noisy, brash Hollywood outing. In fact, I'd go so far as to call it unforgettable.