Woyzeck is Werner Herzog's only ever adaptation of a stage play. There are always problems in the transition of a play from stage to screen. The theatre relies on the power of words and performances, whereas cinema is built more upon images and set pieces. Herzog, an unconventional yet adaptable director, handles the conversion well, giving it a cinematic presentation while still retaining the integrity of the source material.
Buchner's play is a strong story, albeit incredibly grim and depressing. Klaus Kinski, as the title character, is driven insane by military routine and scientific over-analysis, and apparently the role had an irreversible effect on the already psychologically unstable actor. It's typical Herzog material, looking at insanity, dehumanisation and people driven to extremes. Also, like his previous picture Nosferatu, it is another link between the German New Wave and the German Expressionist movement of the 1920s, as it shares that movement's obsessions with psychological analysis and social entrapment.
In filming Woyzeck, Herzog creates an unusual mixture of obviously real locations and rather static, theatrical direction, with few cuts or camera moves. In typical Herzog style there is an unnerving quietness and tranquillity. He isn't afraid to flaunt the advantages of the cinematic medium over the theatrical, with some beautiful landscape shots, and Kinski darting about in and out of close-up and stepping into shot from behind the camera – an effect impossible on the stage. The climactic murder scene is also very well done, and here the picture is at its most openly cinematic.
Kinski is clearly very deep in his performance, and its no wonder the material had such an impact on him. It's a pity, but he is ideal for the role. It's hard to imagine anyone else bringing that much intensity and realism to the part. Really, these collaborations between him and Herzog are the best examples of his unique acting talent because they were, as far as I know, the only opportunities he had to play lead roles. Also worth a mention here are the excellent supporting performances from Eva Mattes and Josef Bierbichler, European actors who deserve far more recognition.
Because of its theatrical origins Woyzeck is perhaps the one Herzog film in which the narrative takes precedence over the look of the thing. On the one hand, this is a good thing because it is much more focused and doesn't digress as his pictures tend to. But for me it also makes it a weaker entry in his filmography, because his films generally rely on their powerful imagery. Still, it is watchable, short and sweet, with some interesting moments.
Buchner's play is a strong story, albeit incredibly grim and depressing. Klaus Kinski, as the title character, is driven insane by military routine and scientific over-analysis, and apparently the role had an irreversible effect on the already psychologically unstable actor. It's typical Herzog material, looking at insanity, dehumanisation and people driven to extremes. Also, like his previous picture Nosferatu, it is another link between the German New Wave and the German Expressionist movement of the 1920s, as it shares that movement's obsessions with psychological analysis and social entrapment.
In filming Woyzeck, Herzog creates an unusual mixture of obviously real locations and rather static, theatrical direction, with few cuts or camera moves. In typical Herzog style there is an unnerving quietness and tranquillity. He isn't afraid to flaunt the advantages of the cinematic medium over the theatrical, with some beautiful landscape shots, and Kinski darting about in and out of close-up and stepping into shot from behind the camera – an effect impossible on the stage. The climactic murder scene is also very well done, and here the picture is at its most openly cinematic.
Kinski is clearly very deep in his performance, and its no wonder the material had such an impact on him. It's a pity, but he is ideal for the role. It's hard to imagine anyone else bringing that much intensity and realism to the part. Really, these collaborations between him and Herzog are the best examples of his unique acting talent because they were, as far as I know, the only opportunities he had to play lead roles. Also worth a mention here are the excellent supporting performances from Eva Mattes and Josef Bierbichler, European actors who deserve far more recognition.
Because of its theatrical origins Woyzeck is perhaps the one Herzog film in which the narrative takes precedence over the look of the thing. On the one hand, this is a good thing because it is much more focused and doesn't digress as his pictures tend to. But for me it also makes it a weaker entry in his filmography, because his films generally rely on their powerful imagery. Still, it is watchable, short and sweet, with some interesting moments.