Au fil du temps

Im Lauf Der Zeit (Kings of the Road - In the Course of Time) directed by Wim Wenders was his first own production (Wim Wenders Produktion). It's the third film of his road-movie trilogy (1st Alice in den Städten, 2nd False Bewegung) and it summarizes the bottom idea of the two films into a masterpiece. Yesterday I saw Im Lauf Der Zeit for the second time in theaters and loved it even more than the first time. The big screen achieved to maximize the emotion in it and it let the music express the scenes better.

When they started filming this they actually didn't have a ready script. They kept writing the script chronologically while they were filming the movie and I think that's one of the main reasons, which created this amazing atmosphere for Im Lauf Der Zeit. After the film was ready they got a nearly three hour long road-movie film. In spite of the unplanned script writing the movie is full of small details and it is very well written, I wouldn't call it a masterpiece if it wasn't. The story builds around two men and their relationship. Robert Lander (Hanns Zischler), who has just divorced from his wife meets a projection mechanic Bruno Winter (Rüdiger Vogler) who travels from one dead movie theater to other. They decide to travel together and during the journey they see movie theaters falling apart and a modern country that is being americanized day by day.

In the beginning Robert doesn't have a direction for his life, but instead Bruno has, he has got a clear list of theaters' projection equipment to fix. A clear direction for his life. During the journey they learn about life and start to find new things. They realize that if you want to be satisfied with your identity you must get over your past. The journey they travel together feels so natural, there's not a single mistake. This is a movie where you could actually cry. Not because of it's sadness, but because you can actually feel what the characters are feeling, you can almost touch them.

The film, among friendship and society is about the difficulty of communication. You can see this in the minimal dialog in the film. For Robert communication is mostly writing, printing a newspaper with his father. Then for Bruno it is the language, German and English. Wim Wenders also researches man's identity in Im Lauf Der Zeit. When you're in a state where your identity breaks, you become afraid and vulnerable. If you open yourself up to another human being your identity is in danger, the playing-with-the-shadows scene is a good example of this.

All the movie theaters Bruno and Robert visit in Germany are decayed. The theaters have fallen apart or have decided only to show porn-films. Still Wim Wenders gives an optimistic choice to film-industry as it does to its characters "Everything must change." In the beginning we see a man telling about the great times of silent movies and in the end we see a woman pitying the modern cinema and thinking is it worth to even keep theaters up for this. But then we have just seen Im Lauf Der Zeit, which is a great modern film and it's a proof of the fact that there's still hope in cinema.

This is a long film with many layers, which is why people can write so long reviews of it. We could analyze it for days but these are the main themes I wanted to mention from Im Lauf Der Zeit. It's basically about the difficulty of communication, friendship, identity and about the loneliness in us all. Even that the film works on an artistic and intellectual level, I think it will appeal to all the people. Because in addition to it's artistry it manages to be more entertaining than any silly Hollywood comedy.

10/10 Im Lauf Der Zeit as a three-hour long black and white road movie requires empathy, patience and a lot of heart from the viewer.

Watching this film is like having a satisfying meal. You feel completely nourished by the end of it, both mentally and physically. For me this film has many moments in it that drift back to me sometimes during my life. It is a tender story about the friendship developed between two men who are both wandering, both avoiding life yet experiencing things that others miss out on. They are both very free spirits yet bound by something, one by the truck , the other by his past, where he is from. They meet by chance and enjoy their company until they must part. Nothing is forced in the film and the relationship does seem to run a very natural course. A great thing about this film is that there is little dialogue in it and yet it does not impede the story flow. I like so much about this film. I read a book on Wenders a while back and I remember something he said. It was that the sensation of travelling is much more preferable to that of arriving or departing. For me this film is that. It is a feeling. One of my favourite moments is when Robert is in the back of the truck and he stares up at the moon through the skylight in the roof, his face staring at it as though it is the first time he has ever really looked at it. His eyes are open finally. It is extremely moving. A life affirming film that everyone should see. I adore it.

Projection engineer Bruno Winter is pulled up alongside the River Elbe, as he sets about giving himself a shave a Volkswagen drives straight into the river in what seems to be a half hearted suicide attempt. The driver of the Volkswagen is woman troubled Robert, after getting to the river bank he finds Bruno to be a most interesting person, and the pair then set off on a road trip that will shape their respective lives and outlooks considerably.

Shot in 11 weeks between July 1st and October 31st 1975, Im Lauf der Zeit is now considered to be one of the seminal pictures of New German cinema. Director Wim Wenders and his crew set off along the Zonenrandgebiet with only an itinerary set in concrete, working completely without a script, his lead actors, Rudolf Vogler & Hanns Zischler manage to produce one of the most thought provokingly intelligent road movies to have ever been made.

There are many musings on this picture across internet forums, and although the film has very deep meanings, I really feel that it's down to the individual viewer to align themselves personally with our protagonists to get the most from the piece. Wenders clearly had deep feelings for German cinema, and here as the guys move from town to town, on Bruno's projection repair route, the feeling that film in this country is dying is quite palpable. This all ties in with the theme of change that is the core essence in Wenders film, it's not just our characters who need to wake up to the need for change, it's essentially his home country as well.

As the guys move on they meet people, they drink, talk, even fight, and it's all filmed in real time, we are forced to be part of this unlikely friendship, be it washing or shaving, or the act of defecating, it's all humane and sits perfectly as a normal way of life. Come the ending, after nearly three hours of engrossing cinema, we know what has been identified, not just for our two wonderful characters, but for all of us who may be wary of change. The black and white photography from Robby Muller is excellent, and manages to make the various landscapes the guys travel thru an extra character, but ultimately it's just one of a number of things that make Im Lauf der Zeit a truly smart film. My hope is that any newcomers to the film will get as much from it as I did, maybe something different perhaps? But at the very least a recognition that this is a truly wonderful picture. 9/10

Wim Wenders's "Kings of the Road" differs from most road movies insofar as it does not quite conform to the conventions of the genre - a setting out, a journey and an arrival. Its two protagonists, Bruno, a cinema equipment maintenance mechanic and Robert, a pediatrician, have already commenced their journeys before the film begins and there is no clearly defined destination at the end. True, their initial encounter marks the beginning of a developing friendship but Wenders does not seem to be particularly interested in where it will take them, rather is it the minutiae of the journey itself that is all important. With a running time of three hours in which very little happens, it would be easy to dismiss the film as self-indulgent. But this would be to miss the point, which is a recreation of the rhythm of everyday life. In the case of Bruno we are aware of every little thing he does. He climbs naked out of his van. Later we watch him shave, and at one point we see him defecating in an open landscape in a middle distance shot held for as long as the act takes. Appropriately there are no such candid camera shots of Robert. He is an altogether more complex and private person. Estranged from his wife, he is clearly on the cusp of suicide when we first meet him. Playing "chicken" by closing his eyes while driving, he ends up in the river. He climbs out of his immobilized vehicle unaided, to be helped on his way by Bruno who is the only witness to the misadventure. The couple barely talk for some time, but a bond of friendship gradually develops between them so that Robert becomes Bruno's companion during his tour of cinemas in small towns on the East/West German border. And that is about all there is to it really. Except that the very feel of the flat landscapes, the river, the open road, level crossings and seedy cinemas takes one over, so that one hardly notices the minutes ticking away. This journey may be of little consequence but Wender's acute eyes and ears for detail make it one well worth taking.

The Wim Wenders retrospective at the local cinematheque provided us this week the opportunity to see the most famous film in the series of the 'road movies' made by the German director more than four decades ago. 'Kings of the Road' (the original title in German is 'Im Lauf der Zeit' which would mean 'Over the Time') is, in my opinion, one of the masterpieces of the genre, a reference film, a film whose beauty has not diminished over time, but on the contrary, seems to have been accentuated and amplified, gaining new meanings from the perspective of time.

The comparison with Dennis Hopper's 'Easy Rider' is inevitable. I'm sure that Wenders knew well and loved this movie. His heroes depicted on screen by Rüdiger Vogler and Hanns Zischler are not necessarily marginals such as those played by Peter Fonda and Dennis Hopper, but same as the ones in the American movie, they cannot care less about social conventions, and choose the roads as a way of life. Roads mean running away and discovering. Self-discovery before anything else. Roads mean taking life as it is, meeting other people, trying to communicate, to connect one loneliness with another. From 'Easy Rider' and 'Kings of the Road' we learn and understand more about the America of the late 1960s or about Germany in the mid-1970s than from dozens of other books or movies.

Wenders' film has a second theme parallel to the one of roads - it's the decaying cinema houses. One of the film's heroes lives out of maintaining the projection equipment of the old cinemas in the small rural German villages. A job that becomes increasingly useless. Wenders anticipates Giuseppe Tornatore's "Cinema Paradiso" for over a decade. 30 years after the end of the Second World War, the ruined Germany was disappearing, taking with it signs and symbols of a way of life that had not only negative aspects. The two characters of the film, apparently lost in a world dominated by order, are actually the symbols of a lost freedom.

'Kings of the Road' lasts three hours, three hours spent by the two characters in a truck, on country roads along the temporary border between the two Germanies, between one cinema already in ruins to another, or to one that still functions without spectators. Not much seems to happen in the movie. And yet the three hours pass quickly, like in a spell, because every minute is full of artistic substance, full of life.