supersoul

Nonetheless, I agree with the "gradual decline" of Wenders, even though we're talking about a great director, not Tarantino. However, in a film from a couple of years ago, "La terra dell'abbondanza," I saw just a bit, but really just a bit, of the Wenders I loved.

Of course, I remember "Lampi sull'acqua." It ended with the real death of the "protagonist," Nicholas Ray, who was on the brink of life. At the end of the film, Wenders ran away and left everything to his editor; what came out was a documentary that was far from what he and Ray had envisioned.

@odradek that line is spoken by the great Sam Fuller in the role of the director of photography in "The State of Things."

There's no doubt, muffin, that's why I say there would be a lot to discuss, even about the use of music (the slide guitar on the banks of the Elbe?!?)

I would say that he makes these films because he enjoys it.

Well, I wouldn’t tear my hair out too much (thankfully, I still have a full head of hair) over this film. I agree with the reviewer’s evaluation; the staging is evocative, the ending a bit less so, but it has the merit of bringing together two great actors. The director is a skilled craftsman, and I love his Manhunter – Fragments of a Murder. It’s a pity about Jon Voight, now recognized not as the one from “Midnight Cowboy” but as Jolie’s father…

In my opinion, it is ABOVE ALL a film that reflects on cinema. Do you remember the opening sequence with Bruno talking to the managers of the small theaters from the glorious times of silent colossal cinema? And that final scene with the cinema owner stating that it's better for films to disappear than to see the horrors of contemporary cinematography? And doesn’t the choice of sparse dialogues signify a desire to rediscover the magic of silent film, with the expressiveness of the image above the word, enhanced by black and white? The opening sequence, which is a parallel montage without dialogue showcasing the contemporary lives of the two before their meeting, isn't it a tribute to silent cinema with Robert communicating through gestures with the little girl? And the scene you mention of the shadow comedy behind the illuminated cinema screen? The spectral and nocturnal scene of the boat trip to the island—doesn't it pay homage to Lang and Murnau? This is a masterpiece that unfortunately (or fortunately) cannot be condensed into a few lines.

@mien_ be careful with these discussions about those geniuses who are superior to everyone else, otherwise you'll hurt someone's sensitivity...

The problem is serious, records are too expensive, but the fact that music today lacks a physical identity is, in my opinion, frustrating. I have already had to endure the farewell to vinyl records and those beautiful covers that opened like a bedsheet and smelled of paper. Now the record is even just a hypothesis, a hidden entity in an iPod or in a hard drive along with so many other wandering souls without a body, without a face, crammed into a virtual orgy that brings together the Stooges and Robert Wyatt, Comets on Fire and the Beastie Boys....

dickhead-sadistic reviewer.... who told you that I don't like SOAD? As for what I do with my mouth besides eating and burping, ask your sister; if she's not shy, she'll explain it to you properly.