The Left Elbow Index considers seven specific elements of a film on a scale of 10 to 1, with 10 being highest, to help in deciding if a film is worth watching: acting, sets, dialogue, plot, character, continuity, and artistry. The acting in this film is superb and thereby rates a 10. Klaus Kinski is exceptional, so much so that it unlikely anyone else could do nearly as well in this role. He is simply stunning. In this regard, it is beyond Shakespearian. Werner Herzog, in his well publicized love-hate relation with Kinski, claims people like Brando are just kintergarten compared to Kinski--no faint praise, indeed. The sets is this film seem carefully planned and constructed. They are appropriate and uncontrived, whether indoors or out, therefore a 9. Dialogue rates a 10 in that it is at times appropriately ironic, profound, or normal. It all cases one listens to every word. The film is replete with dozens of unforgettable lines, like: "Death should be cheap but it should not be free" (by the pawnbroker selling the knife) and "When she got to the moon she found it was made of rotted wood" (by Marie). The Index believes that the plot is an 8, mostly because there seems to be some misleading action. Perhaps this is related to Woyzeck's mental state. It seems unlikely that a sane person could follow his trail. Character development rates a 10, whether related to major or to minor characters. Continuity (an 8) results in a consistent view of the action. For example, the role of the military, morality for the poor, the idea that the poor will work in heaven, and other ideas never escape the intellectual frame of the film. Consistent costuming lends to this. Herzog's background in history and the humanities certainly provides an easy 10 rating for artistry. His use of light and dark rivals that of the THE POTATO EATERS, the kitchen scene with Marie reminds one of GIRL SITTING BY THE WINDOW, and there are other traditional allusions. Herzog says he made the film in just eighteen days, and edited the cuts in just four days. He claims that is how it should be, that it was perfect. Perfect, of course, is an imperfect word. I'm not certain I would claim this film is perfect: however, it is exceptional enough for me to put it on my "see often" list. The Index gives it a 9.3---a bonus for dealing with the absurdity of human existence pushes it closer to a 10. I strongly recommend this film.

For years, folks have gone practically insane extolling the virtues of the collaboration between director Werner Herzog and the actor Klaus Kinski. Their films such as "Aguirre: The Wrath of God" and "Fitzcarraldo" are favorites of many foreign film buffs. Well, I've seen these and other Herzog/Kinski collaborations and am not so enamored by them. However, of all their films, the one that I am most out of step about is "Woyzeck"--a film loved by some but which I thoroughly hated.

The film has very little in the way of plot. It's set in Germany in the 19th century and mostly consists of the lowly soldier Woyzeck (Kinski) being mistreated by everyone. His commanding officer treats him almost like a pet, the doctor does weird experiments on him, other soldiers beat him up and his wife cheats on him. This continues for the entire movie until the end, when Woyzech snaps. There really isn't much more to the story than this and I found it all very ponderous and about as interesting as watching a boil fester!

By the way, don't assume I am anti-Herzog. He's made many brilliant films (especially his documentaries) and he is the reason I saw this film in the first place.

WOYZECK is a lesser film from Werner Herzog, coming straight after NOSFERATU and shot in just a couple of weeks. It's another very visual production with a slow pace and a little light in terms of plotting, but in its depiction of a man driven to the brink of madness and beyond it works a treat. Klaus Kinski gives a typically unnerving performance in the title role, madder than he's ever been before, and actually better than he was as Nosferatu or Aguirre; his face alone is the kind of thing to create nightmares and his portrayal of despair is awe-inspiring. The usual odd comedy and animal scenes work quite nicely here, but it's only at the end that Herzog's full power as director comes to light during one incredible riverside set-piece.