Wim Wenders is this Friday 70 years old. He has long more than the greatest living German film director. The narrowness of the Director-loving profession he has left behind and has become the documentary into a kind of curator of our present understanding. Whether fashion, dance theater or documentary photography, whether Cuban cult musician or contemporary architecture, Wenders has an audiovisual museum of world culture opened, dealing cautiously as devotedly every year a little room or a hall added. His views on the work of colleagues is characterized by seriousness, respect and love. There is a view that – as much kitchen psychology be allowed -. Probably is one, which he would like to wish for yourself
hero worship pervades all his films. Since he is a child of that time. The greatest revolutionaries went to the movies those who translated the transfiguration of its producers against the parricide. Above all, the brillantische Jean-Luc Godard, the Fritz Lang made known to a generation that had forgotten him simply. As Godard and other iconoclasts of the Nouvelle Vague began Wenders as a cinema critic, as an excellent, who had already developed a precise, precocious view of the cinema, when he had no idea that he himself as a grand master of the art of film received in its history should. If a ravishing Frieda Grafe, the best film critic (in) the 20th century, the young Wenders told a colleague in the “Süddeutsche Zeitung”, they also talked about the film Obsession.
You can see what he saw, heard and read has
Wenders’ movies you see at what Wenders has seen it all – and also read and heard. As in Godard cinema is not only “24 times in the second truth”, but also 24 cultural references per second. Unlike Godard, the Trotskyist United Citizens from Lake Geneva, Wenders has moderated his intellectualism and directed into noble paths. Behind the turmoil of his figures lurks a romantic basic understanding of art, which also accounts for the German longing for unity and his films an aesthetic totality.
Yes, you can see the nature shots in “Paris Texas”, “state of affairs” or “Wrong Move” from the stage sets by John Ford or Sam Fuller derived, but even more so in fact there shivering solitude of oil ham from Caspar David Friedrich to. About the bands of American Einsamkeitsidyllikers Ed Hopper played, come in Wenders’ scenes of German and American views together – held together under a sky full of melancholy and sadness
One last Godard comparison. When the orthodox leftists Godard after nearly a decade in 1979 reported back at the service of the revolution bourgeois cinema, he made himself a self-deprecating clown. Most impressively in “Prénom Carmen” where Godard to play as crazy self, a boom box on the ear, shouting: “This is my camera.” This holy frivolity never infected Wenders. His films have been even more serious with the contrary and by the failure in Hollywood. At the darkest perhaps forgotten masterpiece “state of affairs”, whose black and white New Wave aesthetics anticipated the work of directors such as Jim Jarmusch and Anton Corbijn.
The pain and injury in Hollywood have Wenders’ artistic skills are not destroyed, but challenged. In the context of this cruel defeat Wenders was better than ever and even more thereafter. He created breathtaking masterpieces. Within five years, published “state of affairs”, “Paris Texas” and finally “Wings of Desire”. In Hollywood, he had seen how the culture industry was a director snatch a work, and this trauma resulted in a mixture of revenge and compensation with art that was radical only committed itself.
Whether a band like BAP really deserves a Wenders film?
After Wenders avoiding pain, and his longing for Balsam let him into the arms of like-minded people and nice colleagues fall. The results were very different: Whether a band like BAP really deserves a Wenders film, I doubt it. The documentary, as Wenders told recently in a “FAS” interview, give him greater freedom than the production of feature films. This exodus fits well in a time of escape and young filmmakers from the totgetrampelten movie genres in television series and documentaries. People like the Briton Asif Kapadia (“Senna”, “Amy”) or John Akomfrah (“The Last Angel of History”).
When the Wenders fan would wish for the birthday of grandmaster something then more pain and less classical and those existential zeitgeist that Harry Dean Stanton, Nastassja Kinski or Bruno could be Not to style icons of the eighties and nineties. Mercilessly fashionable, on glamorous, enchanting broken and thereby as with all the effects of German Idealism never without substance behind the iconic surfaces.
The colors of “Paris Texas” were a celebration of life, to have the lousy Hollywood survived. The blond hair of Kinski had to sexy shocks, such as the Blond young circus artist in “Wings of Desire” before drug-infested Grey Black of Beckett West Berlin shone even brighter. Wenders sought to shine in the dark, in the half- and full shade. A rendezvous between earthly and unearthly angel takes place at a concert of Nick Cave and Blixa Bargeld.
Wenders has always been in love more in images than in stories. “At the very beginning – and this is much left – was filmmaking for me that you hinstellt the camera anywhere and towards something specific and then doing nothing and just run leaves” writes Wenders. “It’s more a spectator, what fascinated me in filmmaking when changing or moving or staging.” This view has now become 70, who has recently experienced bodily Wenders, knows how young he has remained. He could now begin an unpredictable late work.
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