El cielo sobre Berlín

There are so many comments written about this movie, I almost don't want to write anything - but here I am anyway :)

Though everyone is entitled to their own opinion, it disturbs me to read negative comments that WOD is 'too slow' or that Wenders should have been a still life photographer. I think that some people are missing the point of this movie. Wenders filmed this after having been part of the Hollywood machine for several years, and had grown sick of the cookie cutter films that were (and still are) being made in that tradition to produce ticket sales. Yes, this movie doesn't have loads of action and car chase scenes and guns and sex. It does offer some interesting perspectives. The consistent third person view and 'objectification' of the viewer is one aspect. Watching WOD, you don't feel the typical draw into the movie as so often is the case, but rather are a bystander, looking through a window, with your own thoughts and ideas a part of the movie, not the other way around. WOD doesn't allow you to become a subjective part of the film; it 'pushes' you away from empathizing. Even the camera angles and shots motivate this sentiment. The goal and direction of the film are presented without struggle or thought; you know that Damiel wants to be with Marion. He tells Cassiel this, and the only question is - how will he achieve this goal?

WOD belies a sense of traditional film-making. Peter Falk is presented as perhaps the 'idea' of history as fans call out 'Colombo!' The angels are bound to Berlin, existing in a purgatory neither heaven or hell, unable to communicate. The trapeze artist from a traveling circus representing freedom - not only freedom from an everyday lifestyle, but also the key to Damiel's freedom. This movie contains so many interesting ideas and perspectives, that when watched with an open, curious mind, it is fascinating, mesmerizing, calming and inspirational. Filmed entirely in Berlin, the city is not a traditional definition of beautiful. But the industrial, modernist, post WW II reconstructed Berlin is stunning and diverse, providing the perfect background for this modern classic. I cannot recommend this movie enough. But please watch it with open eyes. In the same sense you cannot listen to the music of Schoenberg or Stravinsky as you would Mozart, you cannot watch Wings of Desire as you would a Spielberg movie.

Only 3 years after the unforgettable "Paris, Texas" (1984), Wim Wenders presented us with another masterpiece: "Wings of Desire" (or "The Sky Above Berlin" in the original German title), a mesmerizing film about the joy of life, partially inspired by Rainer Maria Rilke's (1875-1926) poetry.

The story of the angel Damiel (the excellent Bruno Ganz, who'd play Adolf Hitler 17 years later in the Oscar-nominated "Downfall"), who falls in love with a mortal circus acrobat, Marion (Solveig Dommartin, Wenders's then-girlfriend, who died last January) and wishes to become human is told by breathtaking images (cinematographer Henri Alekan's courtesy - he worked on Cocteau's "La Belle et la Bête") - the angels see in black and white, humans see in colors; philosophical, analytical observations about human life (and death); scenes of beauty in the simplest things in a masterful way that never becomes corny or boring. More than a film director, Wim Wenders is a film poet; his films are fabulous intersections of image and sound (dialogue, music) crafted in a way that only some other masters achieved.

"Dedicated to all the former angels, but especially to Yasujiro, François and Andrej", "Wings of Desire" is a gorgeous celebration of life who should be seen by people aged 8 to 80. My vote: 10/10.

P.S.: Avoid at all costs the ridiculous Hollywood remake, "City of Angels" (1998), with Nicolas Cage and Meg Ryan.

A visually beautiful film, which boasts one of the most poetic and literary scripts ever- the dreamlike poetry of the dialogue fits seamlessly in with the overpowering visuals. The acting is of very high callibre too, with Peter Falk adding a very welcome dimension to the film and Bruno Ganz proving a master at acting via expression and nuance. The storyline is nice and simple and is given much additional poignancy and depth by the way Wenders directed, Henri Alekan photographed and the choice of music for certain scenes- the use of Nick Cave's "The Carney" is especially perfect for the scene in which it was used, as was the music during the main scene where we get to see Marion's Trapeze act- the music, visual mastery and the act itself combine to stunningly entrancing effect. That 100 people have given this film a 1/10 mark is almost beyond belief, as it is an absolute joy from start to finish. Rating:- ***** (out of *****)

A note to those of you who have only seen the bland, woefully wrong-hearted and half-assed "City of Angels", an unnecessary Americanization of this modern classic: this film leaves Nicolas Cage and Meg Ryan in the dust. Co-writer/director Wim Wenders spins a visually stunning tale of angels living in Berlin before the wall came down. As they float through the lives of all they encounter, one of them falls in love with a beautiful and lonely trapeze artist. He soon must choose whether or not it is worth sacrificing the endless grace of being an earth-bound angel to know what it is like to be human, to "see at eye level."

After having seen this film eight times or so, I can safely say that it is my favorite movie of all time. I have to watch it at least once a year and every time I do, I discover a new detail, while still being enchanted by the things that made me love this film in the first place. Although leisurely paced, every scene makes a valuable point about how our lives are touched by divinity every day.

If my grandchildren ever ask me what it was like back in the Cold War, I'll tell them to watch this movie. It is both frighteningly bleak and lyrically beautiful. It captures the spirit of the times (Western civilization immediately before the fall of the Berlin Wall) better than any movie I've ever seen. And it manages to be a love letter to those times while also showing the place and time in all its inescapable ugliness.

The overall plot moves forward pretty nicely for a movie where plot doesn't seem to matter all that much, and there are some beautiful vignettes, beautifully photographed, acted, and directed. I'm not sure how anyone can make it through the movie without falling in love with Bruno Ganz's angel. I think the movie's lyricism holds up well on multiple viewing -- as long as you liked it the first time. If the self-consciously art-house form bugs you, however, or you find the screenplay's "poetry" to be too facile, you'll probably find this movie grating. I, however, have never seen people reading silently in a public library without thinking of this movie . . . .