The Regissuer which amazed us and the cinema will astonish: Wim Wenders
Finally! Today Wim Wenders is seventy. Today the date is reached, actually since last summer tapers to everything. Thirty years, “Paris, Texas” – with a gala ceremony in Cannes on this occasion began the dance in May 2014. Congratulations. (Wenders himself said at the time that a film would thirty years of age, is really no reason to go to the movies). Then To kick off the anniversary year, he was awarded the Golden Bear at the Berlin Film Festival for his life’s work and a retrospective to. An Oscar nomination for his documentary about the photographer Sebastião Salgado. His foundation is working at full speed on the restoration of the old own works, also there is a small film. This was followed by interviews, appraisals, cover stories, all the expenditure in his honor (also with us, yesterday the entire travel journal with stories and pictures for him and by him) well deserved, everything, everything good and important.
So today not everything is, if the correct Congratulations pending, already said, written about his past, the life’s work? And would not it be much nicer, we could finally talk as contemporaries rather than looking back end with him, talk about him and look at his work again? The man is still full of the juice. Or is there something else that we have not said in the past eight months and before that?
An unpretentious book
Yes. A bit short with all the honors came far Wim Wenders as an author. Here are his writings with the most beautiful in the oeuvre of this artist who photographed films rotates, making music and still plays football. Therefore, this final trumpet blast is true of the internationally best-known and most popular German film director not his films, not the memorable especially by officials of the German film fact that he – 1984! – Won the last German far the Palme d’Or in Cannes, but: his writings. In particular, the youngest.
Just published a book called “The pixels of Paul Cézanne” is (edited by Annette Reschke in Verlag der Autoren, Frankfurt). It’s not a big picture book, like him Wenders has also been submitted, but a book with new or scattered and not always published in German texts from him to other artists and filmmakers to Antonioni and Bergman, Anthony Mann, Douglas Sirk, Sam Fuller , If you want to understand what Wenders employs what he eats around, whom he revered, and what questions he approaches the works of other artists, you should read it. It is a book about thinking and thinking and because it comes almost casually, without pretension. A modest in some ways the book.
The film montage of thinking
It starts with a reading guide. The extent is welcome, as it explains what a might bit campy look at first glance, namely the fact that Wenders often writes in a reminiscent of prose poems row case. But here he explains why he does it: because he realized, words and thoughts only when he sees before him, as an image, so to speak. And to the idea to give a rhythm or even to follow their rhythm, “which will take you on the move”, as he says, he writes the lines not full, but can hop sets to the next line or slip or whatever do it, so they go on, can be thought through.
Wenders does not write verses. Also no prose verses. He can simply think better when he writes so, always on the computer, incidentally. He “encircled”, what he thinks in this way. While he has the process of thinking in mind when writing, we realize when reading the line breaks, like a thought has shaped itself. This is because Wenders indeed make films primarily interesting because here similar to writing for thinking behaves like the images in the film for mounting, in which they are joined to a scene like the sentences in this typeface to a thought and argument .
How do they do that anyway?
Wim Wenders is one who is amazed. This amazement he approaches the works of other artists. How has done that, he wonders, Peter Lindbergh, for example, of the models thoroughly to bring in his fashion photographs to reveal itself without thereby disenchanting, however, and in this dialectic can Wenders thoughts are: that it succeed Lindbergh, “to transform these goddesses in people without their aura even to scratch”. And then he comes to an astonishing parallels to the title character of the Truffaut film “The Man Who Loved Women”: It is the “absence of any mutual intimidation between men and women” that he watched both. On the one hand amazingly, the thing comes on the other hand probably very close.
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And with this attitude, the question “How does the the just?” (Or “the” : he looks namely on photographs by Barbara Klemm and the dance of Pina Bausch) He approaches also to Edward Hopper or Paul Cézanne or Yohji Yamamoto. Wim Wenders is not out to demystify it, to snatch them a secret. Her aura remains intact as the Models at Lindbergh. Wenders wants to learn, understand, carry on. We should speak from now on when we talk about him. As one who is seventy, on the world and the art looks: curious. And what is it, in his films, his writings.
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