Tag Archives: poetry

CLASSIC FILM REVIEW: WINGS OF DESIRE (1987)

CLASSIC FILM REVIEW: WINGS OF DESIRE (1987)

Directed by: Wim Wenders

Written by: Wim Wenders, Peter Handke, Richard Reitinger

Produced by: Wim Wenders, Anatole Dauman

Cast: Bruno Ganz, Solveig Dommartin, Otto Sander, Curt Bois, Peter Falk, Nick Cave, etc.

Cinematography: Henri Alekan

*** MAY CONTAIN SPOILERS ***



I hadn’t seen Wim Wenders cinematic masterpiece, Wings of Desire (1987), for many years. Probably thirty-three years. I’m glad I waited so long because I think I am mature enough now to appreciate the poetry of the filmmaking style and the soulful gravity of the characters and themes on display.

I am of the belief that cinema is a collaborative craft in general. Yet, on fleeting occasions a film will be released that transcends the craft of the medium and become art. Wings of Desire (1987) is such a film. Moreover, while I am not a religious person watching Wings of Desire (1987) is as close to experiencing a spiritual filmic happening as I could have. It truly is a thing of transcendent beauty concerned as it is with the afterlife, the soul, humanity, angels, life, love, death and rebirth.

Angels walk amongst the living in a Berlin separated by the wall. Voices reveal their inner most thoughts as said Angels listen, watch, witness and gather human experience, thoughts and emotions. The Angels led by Damiel (Bruno Ganz) and Cassiel (Otto Sander) inhabit Berlin aiming to assemble, preserve and testify reality. In a stunningly beautiful opening sequence the gliding camerawork, chiming harps, poetic voiceovers and sublime photography introduces both a majestic world and compelling characterisations. The monochrome film sets a moody glow illuminating and beautifying the urban locales. If you didn’t know, the black & white sequences were shot through a filter made from a stocking that belonged to cinematographer Henri Alekan’s grandmother.



Wim Wenders directs Wings of Desire (1987) with an assured confidence throughout. Every stylistic and formal choice is driven by the characters’ hearts and an imaginative vision of both reality and the afterlife. It is incredible that Wenders and his production team did not have a traditional script when filming began. Thus, the poetic feel of the film derives from a series of experimental concepts and improvisatory creative choices. Having said that, there is a strong narrative spine amidst the seemingly loose narrative and episodic bones. The anchor amidst these hypnotic vignettes is Damiel’s journey of falling in love, ceasing to be immortal and becoming human.

As Damiel experiences the pain of existing outside human life, Bruno Ganz’s performance is heartbreakingly moving. Damiel also finds love too for Solveig Dammartin’s circus artist. His romantic longing and empathy for her and humanity overall is unforgettable. I mean this celestial and immortal being desires the opportunity to feel, taste and love. There is also humour amidst the pathos too, with a supporting story that follows the actor, Peter Falk, working on a film in Berlin. His brilliant scenes provide a quirky counterpoint to Damiel’s celestial crisis and fledgling romance. Indeed, Peter Falk called his role in Wings of Desire (1987) “the craziest thing I was ever offered”. When Wenders told him his part had not been developed yet, Falk responded, “I’ve worked that way with John Cassavetes. I prefer working without a script.”

Wings of Desire (1987) is deservedly acclaimed as one of the best films ever made. I couldn’t agree more, such is its cinematic power and beauty. It combines both visual, aural and literary styles almost to perfection. Thematically it is just as impressive. While it is a universal story about life, death, love and sacrifice, the fact it is set in Berlin adds an incredible gravitas. The politics and separation caused by the Cold War course through the veins of the film like ice. Nevertheless, Wim Wenders and his creative team wholly reject the gloom of oppression, choosing hope, life and love over said deathly wall.*

Mark: 10 out of 11


(*Note: Interestingly, filming the actual Berlin Wall was prohibited, so a replica of the wall twice had to be built close to the original. The first fake wall warped in the rain because the contractor cheated the producers and built it from wood.)

FILMS THAT GOT AWAY #3 – PATERSON (2016)

FILMS THAT GOT AWAY #3 – PATERSON (2016)

Directed and Written by Jim Jarmusch

Produced by: Joshua Astrachan, Carter Logan

Cast: Adam Driver, Golshifteh Farahani, Barry Shabaka Henley, Cliff Smith, William Jackson Harper, Chasten Harmon, Nellie the Dog etc.

Music: Carter Logan

Cinematography: Frederick Elmes

**MAY CONTAIN SPOILERS**


I’ve recently been working on a screenwriting development programme with someone studying at the National Film and Television School. The idea is to further develop one of my feature film scripts and hopefully improve it. The Script Developer is assessed on the work we do together.

I tell you this because we discussed my script, which is a slice-of-life-bittersweet comedy, in relation to character journeys and arcs. I was keen to present a script made more of humorous and dramatic situations that do not necessarily bring about change in the character. I wanted to go against the general rules of screenwriting manuals to create something more akin to the works of Mike Leigh or Jim Jarmusch.


Eventually, I have decided that the screenplay did need a bit more narrative impetus, however, a film such as Paterson (2016), brilliantly shows what cinematic beauty you can achieve without having a critical character journey or narrative arc. It is cinema of poetry, repetition, small moments, character interaction, and subtle performance full of emotional impact. I’m not sure why I missed it at the cinema, but there you go.

Paterson (2016) is set in Paterson, New Jersey. Adam Driver is a bus driver who has the same name as the place he lives in. This amusing coincidence is mentioned a few times throughout the film. Paterson lives with his wife Laura (Golshifteh Farahani), who spends her days working on her art and has a love for black and white patterns. Farahani and Jarmusch fill this character with an idealised innocence and energy which perfectly complements Paterson’s more deadpan insouciance. I sensed that perhaps Paterson was depressed but I think he was happy deep down. The couple themselves are very content with their simple existence.


We spend a week with Paterson, his wife and Nellie the Dog and his days are pretty much the same. While some may wonder where the story is and when something will happen, I was hypnotised by the repetition. Jarmusch infuses the bus driving, dog walking and quiet moments of reflection with excerpts from Paterson’s and other poets’ works. These are recited by Driver with a laconic charm and mesmeric power.

Personally, I could watch Adam Driver all day. He has such a subliminal and easy acting style, yet you feel such empathy for his character. I thought the back-story of Paterson being a marine was underplayed, but also intriguing. The performance is so good we do not need to know what happened in Paterson’s past, because we can feel it in Driver’s face and being. Moreover, via Paterson we get introduced to another set of eccentric Jarmusch characters which dip in and out of his days.

In conclusion, Jim Jarmusch has created another exquisite character study where very little happens in terms of plot or character development. But that’s the point with this beautifully rendered slice-of-life. The care and love he pours into the lead protagonists, supporting characters and his passion for poetry, make this a modern mini-masterpiece. It is also a charming tribute to all those creative people who work a regular day job but aspire to express their vision of the world around them.

Mark: 9.5 out of 11

A GHOST STORY (2017) – CINEMA REVIEW

A GHOST STORY (2017) – CINEMA REVIEW

DIRECTOR/WRITER:  DAVID LOWERY

CAST: Rooney Mara, Casey Affleck

(Contains mild spoilers – nothing you may not already know.)

ghost2

I write reviews for a number of reasons. Firstly, I love cinema and TV and music and culture in general and enjoy writing and thinking about the things I have seen and why I liked or disliked them. Secondly, as a writer myself I enjoy considering aspects from a screenwriting perspective and analyses what did or didn’t work for me. Thirdly, I guess from a narcissistic or egotistical perspective there’s a part of you that wants the attention or simply just confirmation that one’s opinions are being read or listened too. Ultimately, it’s a pastime and a bit of fun.

Every now and then a film comes along which is hard to place and it makes you think and you actually have to apply yourself. You can fall into certain traps of structure or at worst formula when writing reviews. But with David Lowery’s majestic A Ghost Story (2017) he has delivered such an original work of cinema art it is difficult to follow one’s established reviewing rules.

a-ghost-story.png

For starters it is difficult to even give you a brief synopsis of the film because it is so simple in its concept that the title itself sums up what the narrative is. It literally is a Ghost’s story!  However, after establishing the accessible drama of the loss of a loved one, the characters move into a whole new level of complexity in regard to the supernatural, temporal, philosophical and metaphysical.

The main cast are Casey Affleck and Rooney Mara and they brilliantly under-play a loving couple who share a property in a nameless place. Their characters are also seemingly nameless (referred to as ‘C’ and ‘M’ in the credits) and their normal lives are then torn apart when he dies in a car accident. In a beautifully haunting scene at the morgue ‘C’ “awakes” as a GHOST IN A SHEET! Yes, his Ghost is shrouded in a sheet with two eye-holes cut out. My feeling about this initially was how would the director make it work without possible derision? But, due to his sheer confidence in the idea and choice of shots, music and pace we are quickly enveloped by ‘C’s pale figure and his drama.

casey-affleck-a-ghost-story

From then on we see everything from the Ghost’s perspective and it truly is heart-breaking. I mean it takes guts for the filmmaker to cover his leading actor for the rest of the film but it genuinely pays off. My feeling about the sheet idea was that in death we lose our identity via our body, yet our soul lives on in the space where we existed. Our Ghost here is a genuine lost soul unable to move on and he literally haunts his home in a desire to stay with the one he loves. I also enjoyed the spirituality of the piece without once there being a reference to religion. It’s not about dogmatic belief systems but the purity of life and love.

David Lowery has created one of the most original stories of the year and his handling of composition; editing and temporal structure is a masterclass in pure cinema. This film is hypnotic, tragic and one of the best of the year. It echoes the work of Bergman, Kubrik and Tarkovsky. I for one do like my conventional genre films with well-formed characters and clear plot-lines, but this film transcends cinema conventions and delivers one of the most poignant and melancholic experiences of the year. Plus, the score by Daniel Hart really augments the minimalist approach and often dialogue-free sequences. Overall, this is a meditative joy which is both unconventional yet in its unpolluted filmic poetry had me transfixed throughout.

(Mark: 9.5 out of 11)