Herz aus Glas
FEATURING: Josef Bierbichler, Sonja Skiba, Stefan Güttler
PLOT: A Bavarian town at the beginning of the 19th century loses its master glassblower, the creator of a prized ruby-red glass. As the town’s lifeblood dissipates, the population goes mad, with a shepherd the only voice of reason remaining untouched by the malaise.
WHY IT SHOULD MAKE THE LIST: In Heart of Glass, Herzog captures the effect of an entire town losing its mind. By hypnotizing virtually every actor, the dreaminess of the shots melds with the action of the citizens, creating a dark, dreamworld effect. The most grounded character, Hias, is a seer of visions both immediate and far flung—and he is the village’s only grip on reality.
COMMENTS: This pensive movie begins with a rear-shot of a man looking over a herd of cows. His first words are in voiceover, played against grand scenes of waterfalls and nature: “I look into the distance, to the end of the world. Before the day is over, the end will come.” This seer (Joseph Bierbichler) is named Hias, and he is a shepherd of a nearby Bavarian village. A group of townsmen come to him with words of fear: “the time of giants has returned.” Their town has just lost its legendary glassblower, and as the seer predicts, the end comes to them before the day is out.
Herzog’s Heart of Glass maintains the unearthly, disconnected tone that is set up in the opening shots throughout. Under the spell of hypnosis, the actors portraying the townspeople all behave as if they are several shifts from reality. The worst affected is the town’s magistrate, a man of means who, used to the great wealth the glass export brought in, crumbles when it is lost. First, he insists the glassblower’s house be dismantled and foundation dug up, just in case the secret formula is hidden therein. He demands the seizure of a davenport that the craftsman had given to his mother, in case the solution is to be found inside. He laments, “the untidiness of the stars makes my head ache.” The tragedy has no explanation in earthly logic, and the whole town faces their doom with such disbelief that no one can now seem to think for himself.
Events take an increasingly desperate turn. As predicted by Hias, one of a pair of friends dies breaking the fall of the other. A plan is hatched that all the remaining ruby glass is to be thrown into the lake, to make it turn red. Eventually there is murder and arson as the magistrate—the throbbing head of the hive-mind that’s taken over the populace—goes to greater and greater extremes to bring the secret back from the void into which it has slipped. Hias sees this, and laments, but cannot stop what occurs. During an enigmatic scene in the village tavern, he sits flanked by a white hen and a dancing simpleton, and prophesies far into the future, seeing World War I, World War II, and eventually nuclear annihilation: “…where the black box drops, green and yellow dust arises.”
Heart of Glass ends on an allegorical note. Having fled the doomed town, Hias returns to his beloved woods. Traveling through the primordial forest, he seems at one with it—until he peers into a dark cave. He goes into a fit and, upon recovery, has another of his visions. He sees two islands, “on the fringes of existence,” that have no other human contact, and do not know the earth is round. After years of spying the horizon, a man and his followers take off on a tiny craft to head toward the abyss. “It may have been seen as a sign of hope,” Hias intones, “that the birds followed them out into the vastness of the sea.” Change is terrifying, but it is also the only way forward.
WHAT THE CRITICS SAY: