There are so many things to love about this film, starting with all of the places it takes us to and how beautifully they're captured. My goodness, it's gorgeous at times. There's also a wonderful little lookahead to technology of the future; though it's only set 8 years later, in 1999, there are all sorts of advances shown that are fun to compare to how things really turned out, such as the video phones, the Russian surveillance program with the animation of a bear that informs the user "I'm searching," and what Max von Sydow is cooking up in the desert. The soundtrack is comprised of great songs from an all-star list of bands from the period, and they fit the mood of the film perfectly. The film has got an apocalyptic feeling to it, and yet the story is playful and light, because the focus is on stolen money and chase that goes all over the world in the first half. As Solveig Dommartin's character puts it, "If it was the end of the world, why shouldn't we go down laughing?"
I confess that for most of the runtime I thought this would have been better either as a drama/chase focused on the threat of nuclear Armageddon, or as a science fiction film about the technology of extracting images out of our brains, which is what we see in the second half, but not both. Aside from making the film god-awful long, it wasn't clear how these two things were really connected, that is, until the final half hour or so. Wenders seems to be saying that the threat to humanity may not actually be what everyone was worried about at the time, nuclear war (or in this case, a catastrophic nuclear accident), it may be people become addicted to technology, and having it steal their souls. It was absolutely remarkable to see the characters staring down bleary-eyed into their devices, when 30 years later we've all ended up staring down into our phones. What was a wonderfully organic community out in the Australian outback, with time for dancing and music amidst all of the research, becomes fractured, with isolated individuals caring more about their devices than others. I absolutely loved this aspect of the film.
While it had a lot going for it, so much so that I might have rated it a little higher, I also struggled with it. Four hours and 47 minutes is a lot, and the film drags at times. In the first half it suffers from escape sequences that seem hokey in their conception and then not all that well acted, and in the second half, it just lags. I've liked William Hurt elsewhere, but did not like him at all here; I thought his performance was weak from beginning to end. Solveig Dommartin is just barely passable; while she brings a certain soul to the role and is easy on the eyes to say the least, she delivers her lines with very little range. Thank goodness for Max von Sydow and Jeanne Moreau, who were such a joy to see. Maybe I'm being too hard on the film or maybe I would have liked the three hour theatrical release that Wenders dismissed as the "Reader's Digest" version better, I don't know. It's got lots of moments that are 5 star and overall it's definitely worth seeing, but I wouldn't recommend it without reservations.
I confess that for most of the runtime I thought this would have been better either as a drama/chase focused on the threat of nuclear Armageddon, or as a science fiction film about the technology of extracting images out of our brains, which is what we see in the second half, but not both. Aside from making the film god-awful long, it wasn't clear how these two things were really connected, that is, until the final half hour or so. Wenders seems to be saying that the threat to humanity may not actually be what everyone was worried about at the time, nuclear war (or in this case, a catastrophic nuclear accident), it may be people become addicted to technology, and having it steal their souls. It was absolutely remarkable to see the characters staring down bleary-eyed into their devices, when 30 years later we've all ended up staring down into our phones. What was a wonderfully organic community out in the Australian outback, with time for dancing and music amidst all of the research, becomes fractured, with isolated individuals caring more about their devices than others. I absolutely loved this aspect of the film.
While it had a lot going for it, so much so that I might have rated it a little higher, I also struggled with it. Four hours and 47 minutes is a lot, and the film drags at times. In the first half it suffers from escape sequences that seem hokey in their conception and then not all that well acted, and in the second half, it just lags. I've liked William Hurt elsewhere, but did not like him at all here; I thought his performance was weak from beginning to end. Solveig Dommartin is just barely passable; while she brings a certain soul to the role and is easy on the eyes to say the least, she delivers her lines with very little range. Thank goodness for Max von Sydow and Jeanne Moreau, who were such a joy to see. Maybe I'm being too hard on the film or maybe I would have liked the three hour theatrical release that Wenders dismissed as the "Reader's Digest" version better, I don't know. It's got lots of moments that are 5 star and overall it's definitely worth seeing, but I wouldn't recommend it without reservations.