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Stroszek [ˈstrɔʃɛk] is a 1977 West German tragicomedy[2][3][4][5][6][7] film directed by Werner Herzog and starring Bruno S., Eva Mattes, and Clemens Scheitz. Written specifically for Bruno S., the film was shot in Plainfield, Wisconsin, and North Carolina. Most of the lead roles are played by inexperienced actors.
| Stroszek | |
|---|---|
 Promotional poster | |
| Directed by | Werner Herzog |
| Written by | Werner Herzog |
| Produced by | Werner Herzog Walter Saxer |
| Starring | |
| Cinematography | Thomas Mauch |
| Edited by | Beate Mainka-Jellinghaus |
| Music by | |
Production companies | |
| Distributed by | Werner Herzog Filmproduktion |
Release dates |
|
Running time | 116 minutes |
| Country | West Germany |
| Languages | German English |
Bruno Stroszek is a West Berlin street performer. Released from prison and warned to stop drinking, he immediately goes to a familiar bar where he meets Eva, a prostitute down on her luck, and lets her stay with him at the apartment his landlord kept for him. 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. Faced with the prospect of further harassment, Bruno and Eva decide to leave Germany and accompany Bruno's eccentric elderly neighbour Scheitz, who was planning to move to Wisconsin to live with his American nephew Clayton.
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'. There Bruno works as a mechanic with Clayton and his assistant. Eva works as a waitress at a truck stop and Scheitz pursues his interest in animal magnetism. Eva and Bruno buy a mobile home which is sited on Clayton's land; with bills mounting, the bank threatens to repossess it. Eva returns to prostitution to supplement her wages, but it is not enough to meet the payments. She tires of Bruno's worrying and leaves him, accepting a ride with truck drivers bound for Vancouver.
A repossessor visits Bruno, who is now drinking heavily, and has him release the home. The home is auctioned, and he and Scheitz, who is convinced that the world is conspiring against him, set off to confront the "conspiracy." Finding the bank they wish to rob closed, they hold up a barber shop beneath it, make off with 32 dollars and then go shopping in a small store across the street. The police arrive and arrest Scheitz for armed robbery without noticing Bruno. 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.
Upon entering the small town of Cherokee, North Carolina, the truck breaks down and Bruno pulls over to a restaurant, where he tells his story to a German-speaking businessman. He then starts the truck and leaves it circling in the parking lot with a fire taking hold in the engine compartment. He enters a roadside attraction across the street and activates the coin-operated animal exhibits, then switches on a chairlift and rides it with his frozen turkey. After completing a trip up and down the mountainside, he passes out of view and a shot is heard. The police arrive at the scene to find the truck fully ablaze, Bruno's body still on the chairlift, and animals performing nonstop. The film ends with footage of a dancing chicken and other animals.
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- Bruno S. as Bruno Stroszek
- Eva Mattes as Eva
- Clemens Scheitz as Scheitz
- Clayton Szalpinski as Clayton
- Ely Rodriguez as Clayton's assistant
- Scott McKain as Scott, a home repossessor
Stroszek was conceived during the production of Woyzeck, for which Herzog had originally planned to use Bruno Schleinstein in the title role. 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. The film was written in four days and uses a number of biographical details from Schleinstein's life.[8]
Parts of the movie were shot in Nekoosa, Wisconsin and in a truck stop in Madison, Wisconsin.[9] Other parts of the film were shot in Plainfield, Wisconsin. Herzog had planned to meet documentary filmmaker Errol Morris in Plainfield to dig up the grave of infamous killer and body snatcher Ed Gein's mother, but Morris never showed. The concluding scenes were shot in Cherokee, North Carolina.[10]
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Film review aggregator Rotten Tomatoes reports a 96% approval critic response based on 23 reviews, indicating "Fresh" and an average score of 8.2/10.[11] Vincent Canby of The New York Times gave the film a positive review, stating, "It's a 'road' picture. In some distant way it reminds me of Easy Rider, but it's an Easy Rider without sentimentality or political paranoia. It's terrifically, spontaneously funny and, just as spontaneously, full of unexpected pathos."[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."[14] Variety called it "a moody, overlong pic ... which seems to fizzle out and climax at least three times before the actual finale."[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."[16] Penelope Gilliatt of The New Yorker wrote, "This is a brilliant, poetic film about a man's clutch on a difficult existence."[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."[18] Richard Combs of The Monthly Film Bulletin was also somewhat negative and stated, "On such well-trodden ground, it seems, Herzog has little to say that is not derivative of himself or others; one can only hope that he quickly finds his way back to more unfamiliar regions."[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. His view of that country is the most askance since the films of Monte Hellman. For all the supposed lightness, it is the film's core of despair which in the end devours everything."[20]
In 2002, Roger Ebert of the Chicago Sun-Times called it "one of the oddest films ever made" when including it as one of his "Great Movies".[10]
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