Occasionally, an angel will put an intangible arm around someone to offer subtle comfort.
Even after the two-decades-plus of global exploration that has followed for the filmmaker, it appears to be sui generis, born from its own shadowy nitrate soup.
This cognitively dissonant urban experiment had frequently been the grim arena for sixties spy noir, but never had we seen Berlin become Berlin so clearly, so eloquently before. The more sober and evocative German title translates as The Sky over Berlin.
Of course the city is haunted. Wenders has always been a quintessential Euro movie-lover of the New Wave generation, and Wings of Desire has a rich vein of cinephilic self-reflexivity running through it.
After all, although the angels we see can subtly affect human behavior Damiel Wings of desire a suicidal subway rider toward the future, and calms a dying bicyclist after an accidentthey, like the moviegoer, are mostly observers.
He tries to touch her but cannot.
Like James Stewart in Rear Window, the angel can only watch, and he is as much defined by his helpless voyeurism as we are in the audience.
On one level, the angels are pure-hearted documentarians, bearing witness to life cinema began as documentary, after allyet their work is not action but attention. Is there a culpability inherent in the distance of being an observer?
Michael Haneke, among others, has clearly thought so. As the angels haunt Berlin, Wings of Desire also has its haunters—the audience, observing the observers. As it dawns that we, at least in the viewing moment, might be closer to the ineffectual angels than to the people they hover over, Damiel edges nearer to surrendering his angelic immortality and omnipotence for a short life of love, books, coffee, wind, children, and urban messiness—in effect, exiting his own private movie house and entering the throng of unaestheticized life.
Is the plot arc of Wings of Desire a cry against cinema, even as it equates watching with love? Or does it suggest, to the choir, only a more engaged participation for us, the give-and-take of art film as opposed to the utterly passive experience of Hollywood dross, the Godardian sense that cinema is not an escape from life but life itself?
Who said watching movies was a simple or responsibility-free act? When Damiel and Marion meet in a nightclub bar where, onstage, the angel played by Otto Sander listens in to Nick Cave and the Bad Seeds but hears nothingthey launch into a notorious, full-frontal logorrheic climax a Wenders trademark that effectively leaves us in the dust.Wings of Desire is one of cinema's loveliest city symphonies.
Bruno Ganz is Damiel, an angel perched atop buildings high over Berlin who can hear the thoughts--fears, hopes, dreams--of all the people living below.
‘Wings of Desire,’ more than any of my films, was a sheer gift. I was given this film as a gift from this city.” Studiocanal has also acquired rights . Wings Of Desire enchanted audiences 15 years ago with an unselfconscious brandishing of arty pretension and shameless sentimentality, and odds are good that the film would still strike a chord with just about anyone's inner undergraduate.
maudit, wim wenders, wings of desire, der himmel uber berlin, i hope you enjoyed my 2 day spam lolol # maudit # wim wenders # wings of desire # der himmel uber . While "Wings of Desire" is a genuine work of art, gently crafted, well conceived, beautifully acted - it's slower than molasses on a cold day, and if you're an impatient viewer who quickly grasps the concept of omnipresent angels, you'll be ready for the love story to begin long before it does/5(78).
A symphony of life, death, childhood, memory, loss, love, and war. The story of Berlin, a city of ghosts and angels. A contemplation of eternity and the crackling, colourful spark of life.