Stroszek

In Stroszek, Werner Herzog once again examines an impoverished individual's descent into madness. Stroszek is the tale of Bruno S. who also appeared in Herzog's The Enigma of Kaspar Hauser and almost took the lead role in Woyzeck. Bruno S. was reportedly so disappointed at having not received the role of Woyzeck that Herzog wrote Stroszek specifically for him, and many of Stroszek's stories and locations are taken directly from Bruno S.'s experience.

I love the ways in which Herzog's films often focus upon the disenfranchised amongst us. His heroes are neither rich nor well dressed nor clean cut nor opportunistically swift but their humanity is rich in ethical substance and their suffering packed with disenfranchised grittiness. Stroszek has spent most of his life in and out of institutions where things have been miserable at best. Upon being released from jail, he is presented with an opportunity to leave Germany (where two pimps harass him daily) and start a new life in America (to which he departs with his prostitute girlfriend).

Of the numerous images and allegories that Herzog presents throughout, there are three of which I took note. First off, while still in Germany Stroszek visits a hospital to discuss the problems he is having reintroducing himself to society with a benevolent doctor. During the scene, the doctor laments the inadequate ways in which he is able to respond to Stroszek's inquiries and decides to illustrate how everyone experiences such hardships. In order to do this, he shows Stroszek a baby, born prematurely, who suffers from a particularly troublesome ailment. Herzog holds his camera on this shrieking newborn for an extended period of time, allowing us to soak up the image. While viewing this image, I was struck with the ancient idea how can there be so much suffering in a world as beautiful as this?, and how can something as innocent as this helpless baby grow up to be tormented in a fashion similar to that of Stroszek? That's only one way of examining the scene of course, and as the film progresses and Stroszek's torment evolves we're left wondering if he'll accept the doctor's advice, recommending patience and goodwill, or finally snap.

Second, Stroszek is introduced wrapped beneath a sanitary, institutional robe. The image subtly introduces us to his character and challenges us to consider whether or not someone who has experienced so much state sponsored care will ever be able to transcend their history. And third, there is an interesting scene that takes place after Stroszek arrives in Wisconsin, where two farmers are fighting over a piece of land, shotgun at the ready, to ensure that no one cultivates the land dividing their properties. The middle ground over which the farmer's are fighting can be thought of as representing Stroszek or the modest individual, those who are too damned nice and don't know how to stand up for themselves, silently waiting to be caught in the cross fire.

Stroszek is a powerful film and an insightful study of the detrimental effects of rehabilitation. Experience can be difficult to overcome once it becomes an inveterate, immutable, reality.