I've noticed that many reviews about "art films" are written by people who have already decided to like them. This is the only way for me to explain why so many uninspired films are unavoidably hailed as master pieces - maybe it is because of the "artistic patina" that covers them, and Wim Wenders, after all, has got himself a name.
For me it's a very simple question: Did I like the film? It doesn't matter who directed it, or anything like it. Well, I THINK didn't like the film. Why? I'll try to answer it.
"Falsche Bewegung" is based freely on Goethe's "Wilhelm Meisters Lehrjahre" (another reason why "art film" buffs SHOULD like this film). Wilhelm is tired of life and wants to become a writer. He leaves his mother and starts on a self-discovery journey. On the train, he meets an old athlete of the 1936 Berlin Olympic Games and his assistant Mignon, a mute acrobat (lovely Natassja Kinky). During a train stop he sees a woman staring out of a window of another train, Therese (Hanna Schygulla). In a road house they will know an amateur metaphysical poet. And these characters will unite and travel together searching for the meaning of life - reflexions on politics, the meaning of life, love, the need for action, metaphysical poetry... but no emotional links are established among the characters. Maybe it is because this film is seen through Wilhelm's eyes and all he really wants is to write a book.
The film floats in emptiness - what moves the characters and makes them stick together remains a mystery - after many deep conversations, melancholy, and nothing else, I was really tired, and I almost decided to call it a day. But I gritted my teeth and watched the film to the end.
When the film ends, the group has disbanded, each goes his/her own ways and Wilhelm is left alone brooding that he had made again "the wrong move", because he couldn't establish any emotional links with anyone. Emptiness, grey skies, hopelessness...
Now, beware you "art film" buff - if you want to compare Wim Wenders with Antonioni or Bergman, you're on the wrong track. In Antonioni or Bergmans films, there's is loneliness and alienation, all right, but their films portray deep emotional troubles that come from human relationships, while this film, in particular, shows nothing at all, just emptiness followed by empty words. Nothing plus nothing equals nothing.
For me it's a very simple question: Did I like the film? It doesn't matter who directed it, or anything like it. Well, I THINK didn't like the film. Why? I'll try to answer it.
"Falsche Bewegung" is based freely on Goethe's "Wilhelm Meisters Lehrjahre" (another reason why "art film" buffs SHOULD like this film). Wilhelm is tired of life and wants to become a writer. He leaves his mother and starts on a self-discovery journey. On the train, he meets an old athlete of the 1936 Berlin Olympic Games and his assistant Mignon, a mute acrobat (lovely Natassja Kinky). During a train stop he sees a woman staring out of a window of another train, Therese (Hanna Schygulla). In a road house they will know an amateur metaphysical poet. And these characters will unite and travel together searching for the meaning of life - reflexions on politics, the meaning of life, love, the need for action, metaphysical poetry... but no emotional links are established among the characters. Maybe it is because this film is seen through Wilhelm's eyes and all he really wants is to write a book.
The film floats in emptiness - what moves the characters and makes them stick together remains a mystery - after many deep conversations, melancholy, and nothing else, I was really tired, and I almost decided to call it a day. But I gritted my teeth and watched the film to the end.
When the film ends, the group has disbanded, each goes his/her own ways and Wilhelm is left alone brooding that he had made again "the wrong move", because he couldn't establish any emotional links with anyone. Emptiness, grey skies, hopelessness...
Now, beware you "art film" buff - if you want to compare Wim Wenders with Antonioni or Bergman, you're on the wrong track. In Antonioni or Bergmans films, there's is loneliness and alienation, all right, but their films portray deep emotional troubles that come from human relationships, while this film, in particular, shows nothing at all, just emptiness followed by empty words. Nothing plus nothing equals nothing.