Stroszek is a prominent piece of work that has successfully grabbed the attention of the global community. Herzog tells the story of three characters in their attempt to follow their American Dream. Through the film, Herzog challenges various issues that characterized his society. Bruno is the protagonist in the film; however, it is arguable that Eva assumes the central role in the development of the movie. This is in the sense that Eva enhances the development of all other characters including that of Bruno. Through Eva’s encounter and her practices, Herzog explains the vital role of women in the society. The American society, especially during the time of production of the film, was ignorant to the potential of the women viewing them as weak. This essentially explains Herzog’s decision to use a male protagonist as the main character. However, Herzog employs a calculative approach to challenge such assumption, as it is evident in the movie that Eva presents as an admirable character than Bruno, the main character. In this context, the paper explores Eva’s role in Stroszek by developing the thesis that Herzog’s represents women as achievers and individuals of high potential by presenting Eva as a feminist heroine.
Herzog introduces his story by describing how the main character Bruno met Eva just after leaving the prison. Upon getting into a bar, Bruno encounters with Eva—a prostitute whose beauty and personality confuses him. Bruno cannot withstand his urge; thus, he approaches Eva after which he decides to offer her refuge in his house. It is interesting to note that Bruno eventually falls for Eva, and they ended up in a relationship (Stroszek). From this very first instance, Herzog portrays Eva as a female heroine. In essence, he describes the woman’s inbound unique potential to conquer a man with less effort. Eva, a mere waiter, has successfully disorganized Bruno, who finds it hard to ignore her splendor. In this respect, it clearly comes out that contrast to the society’s assumption that view women as the inferior gender, men would in the real sense be the weak gender.
Although the film primarily seems to revolve around the Bruno’s Schleinstein’s story, the role, and character of Eva is very conspicuous. Eva embodies the powerful woman’s soul that includes her sensitivity munificence especially to her family. Unlike Bruno, Eva is willing to do anything to enhance the welfare of her family. Herzog’s describes the story of his three main characters who seem to have a doomed life in their new country. Bruno’s life terminates through suicide while Scheitz is jailed. On the other hand, Eva cannot love anymore due to the effect of pop-ideologies of social self-assertion and self-independence (Stroszek). For instance, while she turns into prostitution due to necessity while in Europe and when in the US she becomes a harlot in the quest of pursuing the ideology of “material independence.” In contrast to the Bruno and Scheitz’s situations, the doomed fate of Eva is somewhat justified. Herzog explains the reasons behind Eva’s actions and attitude. Eva at the start is a loving and caring woman who calmly takes her duties. For instance, she cleans up Bruno’s apartment without complaining (Stroszek). Although the act of prostitution appears immoral, we comprise with her situation when the prevailing conditions force her into it. In essence, Eva does not like prostituting; however, being a concerned person, she cannot sit, as her family continues succumbing to the threat of poverty. In contrast to her husband who does less to help, Eva a powerful woman takes up daring and challenging ‘work’ such as prostitution to save the situation (Stroszek).
Prostitution was a sensitive subject during the time of production of the film. Through developing Eva’s character based on prostitution, Herzog does not necessarily undermine the profile of women. In the essence, he glorifies the female gender by utilizing the very same aspects that were used by the society to discredit them. The society mainly viewed women as immoral and weak individuals who easily engaged in unspeakable undertakings such as prostitution. In the 1950s to 70s, the theme of prostitution prominently featured in European cinema. The ideology of Marxism mainly promoted this wave. Herzog engages this perspective through his film by explaining the idea of the commodification of the person and exploitation of the ownership of their labor. Although Eva is engaging in prostitution, she eventually comes out as the feminine heroine. Bruno considerably has nothing to offer—his big achievement in the film is emerging as a long-term drunkard. He mumbles throughout the film, and nothing constructive can be seen to come out of him. In contrast, Eva (the prostitute) is educated as she can read English (Stroszek). Furthermore, she drives—all these attributes qualifies her as a victor especially when compared to her boyfriend. Interestingly, the society just dismisses her by the virtue that she is engaging in prostitution besides her relative recommendable achievement. Herzog’s story highlights Eva’s suffering, the price she pays, and her development. However, others characters such as Bruno effortlessly succumb to an inevitable end. Eva’s prostitution story is sophisticated; her pimps are ruthless, and everything she undertakes is aimed at enhancing her welfare. In this context, Herzog represents women as duplicitous heroes who have the potential of navigating through challenges, unlike their male counterparts.
Eva is also a feminine heroine because she challenges the male’s ability and dominance. The film indicates various instances where male characters appear helpless. This contradicts the society’s perception that identifies men, as a dominant gender. This would mean that they should have the potential of taking control of situations. For instance, when pimps in Berlin beat Eva, no man in her life can protect her. Furthermore, her boyfriend is not able to protect her including saving her from prostitution, as he is not able to cater for their basic needs (Stroszek). Instead of helping, Bruno results to alcoholism, which presents as rather a more imprudent decision than Eva’s idea of prostitution. The film shows that with time, Bruno’s drinking became worse. He inconsiderably confronts Eva of their failure to realize the aim of the America’s success that he once thought that they would attain. Bruno blames Eva, who is doing her best to change their life while he remains blind to his helpless effort in addressing their situation. From the film, it also comes out clearly that Bruno is aware that Eva resulted into prostitution to supplement their earnings. He is also aware that her wife is isolating herself by sleeping in a different room claiming that she needs her privacy (Stroszek). This is so uncharacteristic of the man’s dominance role constructed by the society. Being a man, Bruno should not let her wife continue prostituting to shoot their bills; instead, he is expected to take control of the situation by stepping in and finding a way of paying their bills. Eva overturns the situation by taking the “man’s authority” as she seems to have a solution to their problem, unlike Bruno, who appears helpless.
Conclusively, it becomes apparent that Herzog presents Eva as a powerful feminist heroine who is not comparable to her male counterparts in any way. Herzog challenges the society’s conservative attitude that identify female as a weaker gender. He successfully, does this by developing powerful women characters such as Eva who evidently outweighs men in various ways. Through presenting Eva is a female heroine, Herzog comprehensively presents the authoritative and crucial role of women in the society.
Works Cited
“Stroszek” Dir. Herzog, Werner. 2002. DVD.
