This week we watched our first Herzog documentary Land of Silence and Darkness, and although I'd like you to write whatever you want, please try to address the following questions in your response:
- How is this film thematically and aesthetically similar to and/or different from the three Herzog films we've previously seen (Signs of Life; Even Dwarfs Started Small; Fata Morgana)
- I've already mentioned in class how the "real" always makes its way into Herzog's fiction films and the way in which his non-fiction films always contain performative, or fictional, elements. Did you notice any potentially fictional element in Land of Silence and Darkness? If so, what was it and when did it occur?
I'll be interested to see what sorts of connections you made between this film and the other Herzog work we've seen, and I look forward to reading all of your thoughts (good, bad or ugly) by next Wednesday at 12noon.
Because I view myself as a student of Ruggero Deodato I've developed a slight sense of distrust when it comes to documentary filmmakers. While I don't think they're all inherently evil the way Deodato does (or did, rather, I think he's mellowed out with age quite a bit), I am hesitant while sitting through a documentary, mainly because like all filmmakers documentarians can shape their films to fit whatever story they like - whether it be THE truth or THEIR truth. That being said, I did enjoy Land of Silence and Darkness for what it was. The only things that maybe felt staged to me were the various field trips they all took (the petting zoo, the greenhouse, etc.). These people obviously wouldn't have gotten together on their own to organize such outings. That being said, I don't think these staged moments hurt the film - and they certainly didn't hurt these people, who seemed to be really enjoying the opportunities presented to them. I think in connection to Even Dwarfs Started Small it shows a world around these people with disabilities as not fully connecting - or being somewhat nightmarish. Only at the end do we get that maybe there's a sense of moving forward as a politician or spokesperson speaks up at an event stating that they (society) need to take better care of these people.
ReplyDeleteThe Land of Silence and Darkness was definitely the most tolerable of Herzog’s films that we have watched so far. It is also of a completely different feel, but elements of it are reminiscent of what we have seen before. For example, the moment where one of the instructors tells the camera “We can only guess the thoughts of our pupils” as Harold licks the object in his hand. This immediately reminded me of the experiments they did in The Flying Doctors of East Africa with the drawings. There is a clear parallel drawn between what is knowable and what is unknowable. Most Westerners are so accustomed to the idea that the way we perceive things is how the rest of the world perceive things as well, because we consider ourselves to be such an influential superpower of a nation, and because we do not have enough cultural studies in elementary school. Many moments in this film made me stop to reconsider my perception of events. For example, as Harold was rinsing off in the shower with his instructor, I wondered if he would ever learn to swim, and how that must feel for him. Seconds later, he was getting into the pool, as if Herzog had read my mind, and watching Harold struggle but bravely enter was impressive. I wonder if the water leaves a different physical impression on him than it would with myself or another average individual with sight and sound. And of course the final scene was very powerful as we watched that man observe a tree as if it were the first time (maybe it was). What struck me about this last scene though, was the way that the man slunk about the park. I kept thinking to myself, “Is he trying to stay out of line of the camera?”, and then I remembered he has no idea where the camera is. How could he? I began to realize that these people must have forgotten about the camera’s presence as quick as they were made aware, and yet they agreed to appear on a film, knowing full well that they will never see or hear the impression they make on the rest of the world, or whoever views it. They will likely never enjoy a film, and will most likely never fully understand the concept of what it is either, because they have nothing to compare it too. The only reason that I knew this was still a Herzog film, was because these questions popped up in my mind the entire time, forcing me to reevaluate what I had never stopped to consider before.
ReplyDeleteThis film was the most interesting of the Herzog films we've seen in class. Herzog really introduces a subject that not only touches the emotions of his audience, but I think was a very important subject choice for him personally.
ReplyDeleteLike we talked about in class, Herzog's vision is very peculiar at times, but very powerful at the same time. I think he has a very clear outlook of concepts that viewers such as myself are not completely used to. This film, however, delves into a more relatable subject, but I think it was something that also interested Herzog more than I can ever imagine.
For example, the last film, Fata Morgana, was the idea of a mirage. This film took it to another level. Blindness and deafness, and even occasionally muteness. It's one of those things that simply can not be fully explained unless you experience it for yourself. We take some of the most simplest tasks that we are able to perform for granted, but Herzog shows us that for some people, it is impossible to live in simplicity. I got really sympathetic to all of the characters introduced to the film and it was mind-boggling to hear what these people had experienced and how they described it. "Deafness is not silence," one said, "it is a constant noise." The subject was powerful but the interviews and shots Herzog was able to capture from those people were absolutely amazing.
I think Herzog's, The Land of Silence and Darkness, was by far my favorite film we've screened in class to this date. I have to say I wasn't generally appealed to the topic of the deaf and blind, but as the film progresses you can see the lifestyle that these people have to live in. Along, with all the care that is required for these people to survive on a daily basis. I think this film sent itsmost powerful message in the scene when the woman who was not born deaf nor blind at birth, said he poem aloud of what its like being in her state of mind.
ReplyDeleteAs they did the scene the slow pan shot going out showing the room of people whom were all blind and deaf just sitting on the beds alone in their thoughts, unable to communicate unless using the hand technique of communication.
I have rented the video on Youtube for four dollars and watched the film again just for this scene when she says her poem aloud.
By far, a fantastic film.
Land of Silence and Darkness is certainly one of Herzogs best films. Instead of looking at the insane, destructive side of humanity that he seems fascinated with in his earlier films, with this is looks at the goodness in humans. That we persevere in the face of difficulty, we find a way to communicate with those we cannot hear or see. THAT is beautiful. That being said, I definitely got a sense of Herzog faking some scenes for the sake of story. I especially felt it with the boy going for a swim, the entire scene just felt faked especially with having the other characters sit at the end of the pool for some reason. While I don't doubt the by didn't want to dunk his head, something about his swimming around just felt so fake. I can't quite put my finger on it. The ultimate point is, of course, does it matter? I would say no, that even with some scenes being faked or manipulated something beautiful still emerges from a softer, gentler Herzog.
ReplyDeleteJake Hughes
Hey oh! We finally have a Herzog movie with a focus on a specific character. Sure, Signs of Life had Strozek but as one of his first films, there's still a lack of coherency there. With Land of Silence and Darkness, the documentary follows a deaf and blind women as she travels and speaks with other people with the same disabilities. There a lot in common with Even Dwarfs Started Small. Herzog is once again trying to get the audience to identify with the disabled. In Dwarfs, he wanted us to feel small in a big world. Here, he wants us to feel lost and unable to communicate with "the outside world" or basically anybody that isn't ourselves. And of course he does this best by using images. Such as the boy getting into a pool, a woman who has lost the ability to speak after losing the one person who could communicate with her, and of course the shot of the man exploring a tree in a yard.
ReplyDeleteThe subjects of the documentary are even interesting on paper, unlike the subjects of Fata Morgana which on paper would read: Big open field. Dead Animal. Sand Dune. Airplane Wreckage. Blindfolded Drummer. Another benefit is that the subjects are given a voice. We get to hear their side of the story. Therefore, Herzog has less control than he had on Fata Morgana which came off as a quick way to salvage the footage that was meant to be a sci-fi film. Still, with all documentaries, how unbiased can it be? I wonder if Herzog just went along for the ride or if he organized all the events that the subjects attended in the film. At the end of the day, he chooses what to record and what not to so the film is Herzog's whereas a true documentary would belong to the deaf and blind subjects. However, a true documentary on these subjects or any subject would be about 20 hours long and probably super boring. Regardless, this documentary was both interesting and entertaining at points. Forgive me for possibly mistaking entertaining for just relatively happier than Herzog's other films. I just feel that when the people on screen are happy, I'm happy too. Which is ironic because I was terrified and annoyed when the dwarf was laughing at the end of Even Dwarfs Started Small. Then again, if you have conradicting feelings after watching a film, it's probably because you just watched a Herzog film.
Land of Silence and Darkness may be the most tolerable film for many, and I’d agree that it is by far the most watchable. However, at the end of Land of Silence and Darkness I felt… nothing. Something just didn’t quite click with me. It’s an good movie, arguably even a great one, but I’d be hard-pressed to agree that Herzog lands that human connection he strives for.
ReplyDeleteThere is one commonality between all of Herzog’s films up to this point and it’s that Herzog want to create an experience for the audience. An experience that reflects the character’s world, either internally of externally. In Land of Silence and Darkness Herzog plays with the sound and visuals, cutting them off frequently so we feel constrained in what we can sense. It doesn’t begin to approach the actual feeling of being deaf-blind, but it’s better than nothing.
As for authenticity of the events in the film, honestly the whole thing could have been staged. The party, field trip, plane ride, hospital visit, visit with the children, all of it could have been planned out by Herzog. In fact it probably was, but that doesn’t really matter. What matters is that Herzog successfully conveys to some degree what life is like for these people. He humanizes them for the many who didn’t understand, or cared to understand, them.
Land of Silence and Darkness marks another chapter in Werner Herzog's journey to understand the differing ways in which people and cultures view the world. The abstract meanderings of Fata Morgana and the accidental discovery of the differences in which the eyes of a Western mind perceive certain things as opposed to those of an African one in The Flying Doctors of East Africa are moved past, in favor of the far more intentionally constructed and presented analysis of the world perceived through the experience of the deaf-mute in Land of Silence and Darkness.
ReplyDeleteI found myself particularly struck by the juxtaposition between our use of only sight and sound to try and understand the experience of those who lack those senses, and still find myself pondering the potential deeper meaning of that. Understanding Herzog's dedication to the ecstatic truth and occasional indifference to the 'responsibility' of the documentarian to report factually and without bias, I suppose that I don't give all that much of a shit whether or not something is 'real' or 'fake' in this film. I CHOOSE to believe that the moment between the deaf-blind-mute man and the tree is real, as well as any other moments in the film for that matter, because the idea of being able to witness such a beautiful moment, in my mind, is more important than whether or not it was staged. These sorts of potentially fictional elements lead us not to truth and objectivity, but to something much more subjective and, in my opinion, profound. I think Herzog is trying to get us to understand the experience of being deaf-blind, more so than he is trying to catalogue these individuals and tell their stories, and he glosses over the trappings of the 'truth' in order to accomplish that goal. It's not traditional documentary filmmaking, but Herzog doesn't seem to be much of one for tradition.
- Tim Snow
I really enjoyed watching The Land of Silence and Darkness, and I can not wait to watch more of Werner Herzog's documentaries. The film was very emotional and stayed on my mind for a few days after because of the intensity of it. The experience of being deaf and blind is apparently not what you would expect it to be like. In the film, Fini explains that her deafness does not mean silence. Instead it is a constant noise that can range from a slight hum to an obnoxious drone, and that is something you can never escape. To even try and imagine this is impossible for me, and on top of that not being able to see would be the right combination for a living nightmare. However, the afflicted are shown to be quite optimistic about life, even though they require constant assistance in order to maintain contact with the rest of the world. I thought this film was very similar to his other films with the extensive use of long shots to let scenes play out and the film's focus is someone who has become alienated, and is somewhat on the fringe.
ReplyDeleteJust as Strozek is the only character to lose his mind in Signs of Life, and the band of dwarfs in Even Dwarfs Started Small who relentlessly deface the compound they are residing in with no apparent motivation to justify their collective madness. If anything in this documentary was "staged" it was probably the scene with the group visit to the zoo or the exclusive afternoon plane ride. Some of these things seemed a little extraordinary for these women who are by no means portrayed as being prominent or wealthy. However, I thought these scenes fit perfectly within the film. They both allow the audience to see how two people, who lack two major senses, react to a situation that provides a major sensation that does not require a sense of hearing nor sight. It is almost kind of pointless because most people probably only like to fly in an airplane because they can see how high they are up in the sky, something Fini and her friend obviously can not experience. Same with having an opportunity to interact with animals at a petting zoo. This allows the afflicted to simply touch a living creature and feel it's heartbeat, and feel that it is something that is alive and responsive. Touch would most likely be a very heightened sense and and undeniable source of comfort for a deaf and blind person, who is constantly unaware of the living and nonliving things around them.
A very different film from what we have seen so far, although it has some “very Herzog” features and so can be easily identified as a Herzog film. Very intense and dramatic. Again, like the previous ones it doesn’t have a clear narrative structure. It just depicts how blind and deaf people live every day, what they do, how they feel and how they interact with the outer world. It’s amazing that everything we used to see and hear, they can only feel. And it’s amazing how much you can actually say by drawing lines and dots on someone’s palm.
ReplyDeleteThe scene that was especially memorable for me was the one with the old lady in plane. Someone was describing her mountains and forests and their colors, and she was smiling like if she could actually see all that. I find old people very touching in general, so this was really heartbreaking to watch.
I liked the fact that they organized events for people like that and brought them together. The worst thing would be to remain in the land of silence and darkness alone.
Interestingly, I got a very different feeling from the footage about the kids. Maybe it’s because my relationship with kids is so far from perfect and I can’t have as much compassion on them... the shots of each of them scared me. I can’t quite articulate why. Maybe because the old people understood what was going on, they talked about it and I could relate to what they were saying. They lived their lives and had perceptions of those lives they lived. And the children had no idea what they were. They just existed like those who spend years in coma. I felt like the film should have been about one age group - for example, how old people survive blind and deaf, or how children do.
ReplyDeleteFini Straubinger is one of the most interesting characters I’ve seen in a film, and the exploration of her perception of reality, as well as others around her, was fascinating—heartwarming and heartbreaking at the same time.
DeleteIn terms of the the connection between Land of Silence and Darkness and Herzog’s other films, I’m reminded of some comments Herzog makes in A Guide For the Perplexed; He mentions that his characters—fictional or non-fictional—find themselves in a society that’s demented, “these individuals are not freaks.” This point of view is what makes the three Herzog films we’ve previously seen thematically similar. I get a great sense of the “great deal of sympathy” Herzog has for his characters the more we delve into the readings and his films; It’s a quality in his work that I find enthralling.
I’m not positive, but the one part of the film that felt like a fictional moment to me was the scene that took place in the airplane.
As i watch Herzog films, the biggest connection that, for me, creates an almost watermark on all of his pieces is the lack of narrative. Herzog does not dance around his subject matter by spoon feeding you his concept wrapped inside a fast paced, easily obtainable story. He instead throws his film in your face and hits you with a blunt honesty that is very off putting to one that hasn't taken 5 weeks of a class on him.
ReplyDeleteThere is a stark realism in every film we have viewed thus far. They depict life as it is; moving slowly without overly dramatic changes or turning points. Things just go on, as if the world is moving at the same pace every single day and we have fallen into a pattern along with it, which is very different from most every other filmmaker's approaches, which is to keep the audience's attention with constant action and plot points; but Herzog is completely unwilling to compromise his visions to keep the average viewer invested, and I deeply, deeply admire that.
For Herzog, life is as it is. Occasionally slowly moving, occasionally sad, occasionally full of joy, but even in all those moments, it's just life. The world continues to turn and we turn with it, regardless of whether or not anything drastic ever occurs in our lives we continue to be.
This is the most coherent of all of Herzog's early work. Land of Silence and Darkness doesn't use any jarring imagery or unsettling sound to shock the audience. Instead, we are treated with the beauty of life through the perspective of those who themselves are disabled from fully experiencing the wonders.
ReplyDeleteThe beauty of this film is in the method in which we observe all the subjects. All the interactions and scenes are blocked with an intimacy that is best captured through close ups and silence. Fini is easily one of the greatest of Herzog's subjects. Despite her disability, she has a screen presence and narrative strength that almost makes you forget about her shortcomings. She commands the scenes and the meetings with a jubilant enthusiasm, that carries the film even when she is not present.
This is a sign I believe of Herzog's change and path in filmmaking. We still get hints at his abstract mentality of narrative and aesthetic preferences (holding on scenes for increased discomfort and message), but overall this is a step towards an auteurship that will be applied to more coherent concepts, but still maintaining an vague signature that we have come to know and expect.
A documentary about the triumph of will, and the strength required to live a meaningful existence when nothing is guaranteed. Land of Silence and Darkness has shown me Herzog’s potential and I look forward to his later work with great interest. Delving into the film there are many points I wish to touch on. There is a feeling of terror that serves as an aura around the film. What would the viewer do if they were in such a position? Can you comprehend such a position?
ReplyDeleteThe scene in the botanical gardens exhibits some strong imagery. Those who are blind and deaf spend so much time feeling the plants with their hands. I learned immediately that they are more intimate with their surroundings than any of us have ever been. The time they spend studying the object with their hands lets them feel the gravity of the thing, it then translates into something incomprehensible to us in their mind. The world they “see” is so very different than we could even imagine.
I both saddened and inspired in the scene where our main character attempts to communicate with the woman who had withdrawn into herself. Occasionally the woman would look at the main character, but nothing more; it was as if she was a shell with nothing inside—her humanity long since removed. It demonstrated the strength of the main character. Her mental ability to continue through such trauma and to help others despite the condition she is faced with is beyond words.
That is the beauty of this film, it is beyond words. Herzog has shown himself to be a filmmaker who can make true films. Land of Silence and Darkness is a film that could only be a film. We need to see these things to fully understand/appreciate them. In that fact it is incredibly ironic as well.
Getting a bit long winded here, but the scene with the kid who has been blind and deaf since birth struck me more than any other. As the kid enters the shower and feels water, he cries out in joy and wonder. Pure film, it could not be appreciated any other way. When he tries to go underwater it is bravery beyond bravery. It bears a dangerous question: to be gifted with a few years of full faculties or to never have never seen at all? Both are hells I cannot fully grasp, yet we humans must push on… What a telling tale about the qualities of being alive and the trials of the human condition.
The best part of this film for me was that I didn’t know whether to cry or smile throughout the whole thing. I guess I could’ve done both at the same time. The shots that Herzog managed to get in this film were beyond words (literally). The scene with the man and the tree was absolutely wonderful. Hearing the old ladies talk and hold a conversation while the shot shows the man feeling the tree and “looking” at the branches alone in the courtyard without speaking a word is engrained in me now. Also the young boy learning to swim and submerge himself underwater was an awe-inspiring scene. It was nothing short of courage captured on film. This film was one of the best pieces of art I’ve seen that made me think hard and long about my life. And that’s the sole reason I love Herzog. I said in an earlier blog post that Herzog always makes you think. And we need that as a culture. We need to see and feel something beyond just comfort.
ReplyDeleteI also enjoyed this film because it was more coherent than some of his earlier ones. It’s not that I didn’t enjoy some of his earlier works, but Land of Silence and Darkness was a fantastic change by Herzog while still keeping his signature style of filmmaking.
All in all, this film was one of my favorites that we’ve seen so far in class. It might even hold the number one position. For now, that is.
The camera's personality in this film reminded me of his doctors in Africa documentary. It almost stumbled behind the action, which added a realism for me. But this film partially bored me, I did not feel engulfed in her world, nor did I get an insight into this culture. I saw this culture in this film, but was not engrossed in it as I expect from Herzog.
ReplyDeleteThe camera's personality in this film reminded me of his doctors in Africa documentary. It almost stumbled behind the action, which added a realism for me. But this film partially bored me, I did not feel engulfed in her world, nor did I get an insight into this culture. I saw this culture in this film, but was not engrossed in it as I expect from Herzog.
ReplyDeleteThe Land of Silence and Darkness was probably my least favorite Herzog film, Despite not including the same uncomfortably jarring imagery, or disturbing sounds in order to shock audiences, Herzog rather focused on the story, characters, and the perspectives these people have on life. I draw a clear connection between the filmmaking style between The Land of Silence and Flying doctors in east Africa, both in how the camera interacts with the actors, and the flow, and pacing of the edits.
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