O Fim da Violência

...or as I like to think of it, THE END OF VIOLENCE is the greatest scifi crime thriller that never was.

As always with Wim Wenders, the plot is fantastic. But, as always with Wim Wenders, the movie isn't about the plot, and those who expect to be carried by the plot will be disappointed. In the same way WINGS OF DESIRE had a great plot about angels but was not a fantasy; in the same way UNTIL THE END OF THE WORLD had a great plot about a high tech dream machine but was not about technology; in the same way LISBON STORY had a riveting plot about a missing person but was not a mystery, here we have the same Wendersian formula which he pulls off flawlessly.

The plot, if you're curious, is about a futuristic "God machine" that can eliminate people with the push of a button. Designed ostensibly for crime prevention & surveillance (the old "to protect & serve" - where have we heard that before?), it gets out of control and takes murder & corruption to the next level of clinical perfection. Caught up in the game is Mike Max, a movie producer struggling with his own intense xenophobia and paranoia, which, like a disease, he himself spreads to society through his films.

That's all I'll say about the plot because (a) I don't want to ruin anything, and (b) like I said, the plot is secondary. What's really important, as you watch this movie, is to pay attention to the thought-provoking dialogue, the philosophical allusions and the overall metaphor of the situation. If you can tune into that stuff, then you're set for a great experience.

I'll give you just one example of the philosophy. There's a scene early on where they talk about the "observer effect" (you might recognize it as the paradox of "Schrödinger's cat" which you can look up on wikipedia). This is the fundamental theme of the film: the idea that, even by "impartially observing", we change the situation or in some cases destroy it. As one of the characters says, it's like "flipping on the light to observe the darkness." What a poetic & appropriate analogy.

This movie is choc full of that kind of stuff, and you may miss it if you're expecting car chases and gunfire. No, instead you get the ultimate anti-violence violence film, and I gotta give Wenders a standing ovation on being the first director I've seen pull it off.

A lot of movies in the past have carried a message of anti-violence; yet the films sink to the thrill of showing violence themselves and often glorifying it (the biggest example would be Norm Jewison's classic ROLLERBALL), and this becomes confusing if not outright hypocritical. But in this case, we get a chilling depiction of the epidemic of violence without showing any blood & guts to excite our savage instincts. It remains an intellectual film, not visceral. Don't get me wrong; this movie is plenty suspenseful, and on more than one occasion it'll have your heart flopping like an electrified noodle. But it's all done by way of the mind. To me, that's what makes this depiction of violence all the more effective & frightening: the way it's so clean & neat like in a video game. And without any fuss, someone's head could just go pop.

This is the best film I've seen in a while. I'm only taking off a few points because I wished it was twice as long & had more monologues, like some of the older Wenders films. But I have to say this film sticks to its objective and delivers a perfect product.

This is an astounding movie, and as others have noted, it is precisely the kind of movie that passes most people by because it rocks so gently as to be almost imperceptible.

The first time I saw this, I was disappointed. 'Until the End of the World', to me, is a brilliant piece of work, with more beauty, reverie, and complexity than any ten average films put together.

So...I was ready for some heady stuff with 'End'. But the movie seemed to be lost, missing in action.

But six months later I watched it on video, and I realized I was looking at an entirely different movie.

Then I watched it again...and again, and again, until I'd seen the thing ten times, including one where I only listened to the film, to see if I was simply addicted to Wim's luminous visuals.

What you realize is that this film is cooking up some very threatening ideas about the quality and nature of love, and the companion six degrees of violence and hatred. It is really about the way in which fear and love pulse in contrary and similar ways, much like particle and wave, dancing together.

It's also a fantastic critique the "confederacy of dunces" and the manner in which we manufacture enemies to suit our paranoia.

I must say that there are few directors that move me as much as Wim Wenders, and I have to confess that I have cried many times over the beauty and grace of some of the scenes and visuals in this movie. Much like Robert Altman or Atom Egoyan, Wenders cares about people, believes in their struggles, and he creates tension that moves them, at least temporarily, to understand their natures more fully.

A masterpiece, if a masterpiece means your heart moves even slightly...

PS Ry Cooder's soundtrack is brilliant!

You don't turn to Wim Wenders when you're looking for nerve-tightening suspense. Though written (by Nicholas Klein, with Wenders) in paranoid-thriller form, the script lacks even a nubbin of McGuffin to anchor the narrative. Two stories run in parallel: Bill Pullman's an action-film producer gone missing after an attempt on his life; Gabriel Byrne's a NASA computer jock on loan to a mysterious satellite surveillance project. Just as yuppie cop Loren Dean is on the point of tying the two tales together, the movie's over, the plot unresolved.

Oh, well: Los Angeles (mainly Malibu, Santa Monica, and Griffith Park) looks great (cinematography Peter Przgoda), and Wenders has an uncanny ability to get actors to feel comfortable in their skins. The most notable skin in question is Traci Lind's: her role as a stunt-woman turned aspiring actress would have made her a star in a more mainstream movie.

If you're a Wenders fan, don't let the commercial failure of this film put you off: Compared to, say, 'Far Away, So Close' it's as electrifying as 'The 39 Steps.' And somehow, as usual, Wenders's almost childlike intensity of gaze makes you look harder, too. The aroma of the film lingers, even as its substance slides through your fingers like sand.

I watched this movie a few times, and I have met very few people who liked it as much as I did. I see it as an artful expression of all the critical thoughts in philosophy, sociology etc. that show how genocide, ultra-violence and fascist methods of population-control can develop out of all the promises of order, justice and peace the the modern state makes to its citizens. Also, the dialogue has absolutely superb moments, as when Mike the fugitive of the state says to his wife confronts his ex-wife with the words "Who can I turn myself into? Well I see who you turned yourself into...". A lot of people seem to dislike the loose ends and unexplained shifts that the characters make - but I say, in that very absence of rigid structure the film makes a parallel to the manifest ambivalence of modern life as a citizen: Our greatest protector is also our greatest threat.

"The End of Violence" is a clutter of stick figures wandering through a messy story about some sci-fi "big brother" government project being tested in Los Angeles. The film trades interesting characters for interesting situations, connects the dots too late revealing too little, and ends in a self absorbed coma about as flat as warm beer. Nonetheless, the film has a respectable cast, a garnish of neo-Beat poetry, a brooding noir feel, a good soundtrack, and some husky-voiced philosophical narration by Pullman making it a par watch for the needy couch potato. (C)