|
|
137 of 140 people found the following review helpful:
5.0 out of 5 stars
A film that nearly overwhelms me each time I see it, May 24, 2003
No movie that I see on a regular basis makes me feel so powerfully the joy of being alive as this one. Although many films and numberless and sappy television shows since 1987 have used angels of one dreadful sort or another, Wim Wenders managed to success while all the others failed. Working from a story by celebrated writer Peter Handke, Wenders takes angels that seem to have more in common with Rilke's Duino Elegies than the Bible or the New Age angels. Their function is to watch and observe and record, and in their own limited fashion, to comfort and commiserate. The trick wasn't to come up with the gimmick of angels being able to listen to the thoughts of humans, but to make those thoughts beautiful and representative of all that is quintessentially human. The trick wasn't to have the angels see in black and white and the humans in color, but in making what was seen, whether two or many toned, beautiful. One has only to see the absolutely appalling CITY OF ANGELS, an English language remake starring Meg Ryan and Nicholas Cage, to see that having gimmicks isn't enough; you must have substance as well.This is not a perfect film. There are some dull moments, and I thoroughly dislike a couple of moments in the film, in particular, Dommartin's speech to Bruno Ganz in the bar near the end of the film. But there are so many magnificent moments, so many moments where they not merely get something right, but produce a moment of almost transcendent beauty, that WINGS OF DESIRE provides more than entertainment, but something akin to a reason to live. The movie becomes in the end a celebration of life, of all the tawdry elements that go into being human. The movie ends in affirming nearly as many things as Walt Whitman does in "Song of Myself." I love the cast. Bruno Ganz is perfect as Damiel, the central angel of the story. Likewise, Otto Sander's face is the perfect receptacle for all that he witnesses on his silent rounds through Berlin, while Solveig Dommartin is so sympathetic a character, so lovely, that one could imagine an angel or anyone else yearning to be with her. And Peter Falk turns in a remarkably quirky character role, playing himself on location in Berlin. The city itself emerges as a major actor, providing what is certain to stand as the last great visual representation of Berlin in the last couple of years before the Wall fell. Curt Bois was a veteran character actor who was a staple in Hollywood films in the 1930s and 1940s, playing a vast number of waiters and tailors and hotel clerks (he plays the pickpocket at the very beginning of CASABLANCA). In what would be the last role before his death, Bois appropriately plays "Homer," the ancient man remembering all that had occurred in Berlin in the past several decades, playing the role of human witness to counterbalance the angelic witnesses. This film and UNTIL THE END OF THE WORLD, a Wenders film that followed this one in 1991 have to have two of the best soundtracks I have encountered. Subtract either "Six Bells Chime" by Crime and the City Solution or "From Her to Eternity" by Nick Cave, and this would have been far less of a film, and the scene where Solveig Dommartin changes in her trailer while listening to Nick Cave do "The Carny" might be the best scene in the film.
|