Critical response In 2005, critic Walter Chaw summed up the film as "a strange, brave performance housed in an anti-linear film stuffed with obscure images and silent passages of profound, frightening insight", adding "That the director identifies so deeply with a foundling in 19th century Germany who appeared in the middle of a town square having spent his whole life chained to a floor in a basement dungeon speaks volumes to Herzog's feeling of detachment in intellectual, artistic, and social environments." In 2007, the critic
Roger Ebert wrote a retrospective review of the film, which he had included in his list of "Great Movies", saying "In Herzog the line between fact and fiction is a shifting one. He cares not for accuracy but for effect, for a transcendent ecstasy." Writing in 2001, Maria Racheva said ".. Herzog, the director, unlike
François Truffaut in
The Wild Child, is not interested in showing the painful process of adaptation to civilized surroundings; Kaspar has a special consciousness in which the laws of nature have a central place and in which the conventions and norms of civilized behavior are as artificial and inconvenient to him as the black dinner jacket he is forced to wear. His difficulties in communication are not the result of any linguistic inadequacies; simply, he is "different" from other men. That is why Herzog seems to wish to persuade us that, despite being gratuitous, both the early isolation and the surprising death of his hero are somehow logical. ... This summary of plot sounds like a fairy tale—and it is. Most of Herzog's films recall fables, and that is surely one of the reasons for their success." In 2017 David Fear and
Peter Travers, in
Rolling Stone magazine, said: "Based on the true story of a young man who spent the first 17 years of his life never leaving his tiny room – and then became a public sensation when he finally ventured out into society – Herzog's cracked biopic would have felt offbeat and intriguing enough on its own. Still, the director thought he'd make things even more interesting by casting a 41-year-old street musician credited as "Bruno S." who had spent decades in and out of mental institutions and had never acted before. The result is one of the more odd and affecting performances in Herzog's movies – part guileless, part gimmicky and all genuinely WTF. A bold experiment that paid off in a big way."
Accolades The film was invited for the
1975 Cannes Film Festival. It won the
Grand Prix Spécial du Jury, which is the second prize for films "in competition" at the festival; the first is the
Palme d'Or. In addition, it won the
FIPRESCI Prize and the
Prize of the Ecumenical Jury. The film won two
German Film Awards: to
Beate Mainka-Jellinghaus for editing, and to Henning von Gierke for scene design. Herzog won the film award in silver (
Filmband in Silber), being the only film awarded in the category "Feature Film Direction" (
programmfüllender Spielfilm (
Gestaltung)), which came with a substantial cash prize. The film was selected as the West German entry for the
Best Foreign Language Film at the
48th Academy Awards, but was not accepted as a nomination. ==Home media==