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Stroszek is a 1977 German tragicomedy[2][3][4][5][6][7] film directed by Werner Herzog and starring Bruno S., Eva Mattes, and Clemens Scheitz. [9] Other parts of the film were shot in Plainfield, Wisconsin. He has few skills and fewer expectations: with a glockenspiel and an accordion, he ekes out a living as a street musician.
They are then harried and beaten by Eva's former pimps, who insult Bruno, pull his accordion apart and humiliate him by making him kneel on his grand piano with bells balanced on his back. In some distant way it reminds me of Easy Rider, but it's an Easy Rider without sentimentality or political paranoia.
[8], Parts of the movie were shot in Nekoosa, Wisconsin and in a truck stop in Madison, Wisconsin.
"[19], Geoff Andrew of Time Out said, "Although relatively indulgent for Herzog, the film's comedy works well enough, because Herzog's idiosyncratic imagination finds an ideal counterpoint in the bleak flatlands of poor white America. The European refined but infantile narcissism meets the American rational but de-sublimated one with tragic consequences for the main characters whose emotional refinement and “poetic” non-practicality turn against them in an atmosphere of pop-sensibility and fake prosperity.
The ending of Claire Denis’ Beau travail is one of the great moments in cinema, right up there with the dancing-chicken ending of Stroszek.In fact, the endings are quite similar: In each of them, the penultimate scene is a very restrained depiction of the protagonist’s implied suicide. Champlin, Charles (September 21, 1977).
Stroszek and Eva take out a loan to buy a mobile home, but soon fall behind with the payments.
He then starts the truck, leaves it circling in the parking lot with a fire taking hold in the engine compartment and goes into a tourist trap across the street, where he starts a ski-lift and rides it with his frozen turkey. [10], Film review aggregator Rotten Tomatoes reports a 100% approval critic response based on 14 reviews, indicating "Fresh" and an average score of 8.2/10. ( Chiudi sessione / Watching the marvelous "Stroszek" (I think of it as Herzog's Fassbinder movie), with Werner, as everyone calls him, seated in the audience two rows behind me, the famous dancing chicken at the end reminded of the quote above. ( Chiudi sessione / After believing Klaus Kinski to be more suitable for the part, Herzog specifically wrote the leading role in Stroszek to compensate Schleinstein for his disappointment over Woyzeck. Eva falls back into prostitution to supplement her wages, but it is not enough to meet the payments. The artist’s intent often takes a backseat to his/her audience’s personal interpretations. Modifica ), Stai commentando usando il tuo account Google. Written specifically for Bruno S., the film was shot in Plainfield, Wisconsin, and North Carolina. He obviously identified with the character of Stroszek.
But I never saw “Stroszek,” which was also released in that decade. Holding a large frozen turkey from the store and the shotgun, Bruno returns to the garage where he works, loads the tow truck with beer, and drives along a highway into the mountains. Modifica ), Stai commentando usando il tuo account Facebook. Most of the lead roles are played by non-actors. "The Current Cinema". Siskel, Gene (April 25, 1978).
The same work can serve as an unwavering inspiration or the justification for evil — being wholly contingent upon a person’s basic skews. Herzog might as well have been dangling a glossy gold medallion back and forth across the singer’s eyes, daring the man to jump. The trapping the titular character falls in to — the noise of malpractice and the letdown of a perceived dogma — throw the man into a loop, both literal and figurative, which finally forces him into action against the thrusts of habitual duress. To sidestep life’s inherent repetition is also to follow one’s dreams. 0 likes. "[17] A less enthusiastic review by Gary Arnold of The Washington Post called it a "dogged, obstinately despairing parable" that "is strewn with gauche little appeals for sympathy.
If there were ever a movie to bust an audience out of a humdrum rut, it’s Stroszek. There Bruno works as a mechanic with Clayton and his Native American helper, Eva as a waitress at a truck stop and Scheitz pursues his interest in animal magnetism. Siskel, Gene (January 7, 1979). Gilliatt, Penelope (July 25, 1977). Arnold, Gary (October 1, 1977).
Good art, in all its different mediums, bends alongside an individual’s given personality. By Victor Enyutin, Please support the campaign for a statue of Alan Sillitoe in Nottingham (click picture for details). The police arrive at the scene to find the truck is now fully ablaze. The home is auctioned, and he and Scheitz, who is convinced that the world is conspiring against him, set off to confront the "conspiracy."
Faced with the prospect of further harassment, Bruno and Eva decide to leave Germany and accompany Bruno's eccentric elderly neighbour Scheitz (Clemens Scheitz), who was planning to move to Wisconsin to live with his American nephew Clayton.
A solitary chicken trapped, dancing in a box for money. Something as simple as a striped canvas can broadcast a digestible, yet open-ended message. Stroszek falls into despair. Bruno Stroszek is an alcoholic. Please, visit: www.actingoutpolitics.com to read the essay about “Stroszek” – “A Surrealistically Comic Parable about European Escapees to American Freedom: From Europe to US – From Narcissistic Self-image to Narcissistic Systemic Logic” (with analysis of clips and stills from the film), and also articles about films by Godard, Resnais, Bergman, Kurosawa, Bunuel, Bresson, Antonioni, Pasolini, Alain Tanner, Cavani, Bertolucci, Fassbinder, Wenders, Rossellini, Moshe Mizrahi and Ronald Neame.
The concluding scenes were shot in Cherokee, North Carolina. Himself caught in an incongruous loop, Ian Curtis, not unlike Stroszek, also gave in to these pressures.
For all the supposed lightness, it is the film's core of despair which in the end devours everything. "[12] Gene Siskel of the Chicago Tribune awarded his top score of four stars[13] and placed it at #10 on his year-end list of the best movies he saw in 1978, calling it a "strange, funny, heartbreaking film. After sightseeing in New York City they buy a used car and arrive in a winter-bound, barren prairie near the fictional town of 'Railroad Flats'. His insecurities, often emboldened by his epilepsy, pitted the musician in a back and forth dilemma as he balanced the monotony of his home life against the excesses of the road.
The pair buy a trailer which is sited on Clayton's land, but as bills mount, the bank threatens to repossess it. Stroszek.
( Chiudi sessione / Upon entering a small town, the truck breaking down, Bruno pulls over to a restaurant, where he tells his story to a German-speaking businessman. Visual images in “Stroszek” intrigue and astonish us while their meaning makes us bitterly laugh. ... For all the supposed lightness, it is the film's core of despair which in the end devours everything. Werner Herzog’s dancing chicken, appearing at the end of his film Stroszek (1977), is probably more infamously known as one of the final, haunting images that Joy Division’s Ian Curtis saw before he committed suicide in 1980. It’s hard to blame anyone already in a state of despondency for taking such measures, particularly after falling victim to Herzog’s hypnotic message. Released from prison and warned to stop drinking, he immediately goes to a familiar bar where he comforts Eva (Eva Mattes), a prostitute down on her luck, and lets her stay with him at the apartment his landlord kept for him. Herzog’s imagery in this film delivers existential meaning with socio-psychological straightforwardness and yet is aesthetically independent from it and “fetishistically” enjoying itself with all its beauty.
It's terrifically, spontaneously funny and, just as spontaneously, full of unexpected pathos. SOMETHING FOR THE WEEKEND: Jenny Agutter in An Ame... 13 FOR HALLOWEEN #1: An American Werewolf in London. But while Curtis was rather clichéd in his rock star deviancy, what set the man apart was his unending guilt. The film forces us to question ourselves as Europeans (by our past), as Americans (by our present and future) and as human beings in general.
In the end, playing Curtis’ actions against that of Herzog’s crew allows for a perfect encapsulation of art and subjectivity. Stroszek was conceived during the production of Woyzeck, for which Herzog had originally planned to use Bruno Schleinstein in the title role. Curtis played the role of the tortured icon long before anyone had even heard the name Cobain.
He wanted to be happy with his wife and child, but he never could make it happen. "Three oddballs and a great scene make 'Stroszek' a magical picture". SOMETHING FOR THE WEEKEND: Kim Poirier in Dawn of ... 13 FOR HALLOWEEN #12: Dawn of the Dead (2004), 13 FOR HALLOWEEN #11: Dracula: Prince of Darkness. “Stroszek” is a look at the ill-fated aspirations of a couple “card-carrying” members of the German lumpenproletariat. Legend has it that Herzog stumbled upon his infamous sideshow while scouting locations for his climax, eventually writing the scene into the script that night in his hotel room.
Eva starts turning tricks again. An unctuous type from the bank threatens repossession. "[15] Charles Champlin of the Los Angeles Times declared it "a strange and original piece of work ... if in its last third it is overwhelmed by its own symbolisms and is disappointing, it has in its first half some passages of terrific power and brutal believability. The film ends with a sequence showing a chicken dancing, a duck playing a drum and a rabbit riding a toy fire truck, in coin-operated attractions that Bruno activated on his way to the ski-lift. It’s easy to see how Curtis, already dealing with an enraged disease, could plunge into the glass half-empty. I could never be like him, but I can take from him in this lesson to be observant, open, curious, and thoughtful. Others see motivation. Perhaps I had other concerns during the week it was shown; perhaps the reviews were only lukewarm. Jeff T. Werner never ceases to amaze me. Herzog presents a worst-case scenario, adding up the tolls of the daily grind. The film concentrates mainly on the psychological, not material problems of the emigrants, and, through analysis of their encounters with life provides thoughtful criticism of American viva-survivalism, money-fetishism, a lack of disinterested intellectual energy, excess of consumerist ecstasy, and a drastic disproportion between a dominant physical relations with nature and a rudimentary spiritual one. As the weight of the world descended on Curtis, the damning footage of Stroszek may have provided the final push. Reactions tend to bend reality towards a desired justification.
Sonny Terry’s harmonica serving as a dirge while an indoctrinated duck plays the bass drum and a looping ski lift takes you nowhere except for back to where you started from. Werner Herzog’s “Stroszek” (1977) is a surrealistically stylized saga about the trio of European eccentrics’ awkward attempts to settle into American freedom.
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