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For the first time ever, Wim Wenders’ famed Road Trilogy, a major cornerstone of the New German Wave, has at last been made available in the US forty years after the premiere of the Kings of the Road (1976), which still stands as one of the auteur’s finest achievements. Throughout five decades worth of filmmaking, Wenders has had as many artistic failures as successes, some of his best achievements arriving after switching formats or pursuing new technologies. Fresh off his disastrous adaptation of Nathaniel Hawthorne’s The Scarlet Letter, Wenders wanted to recreate the chemistry he felt on set between Rudiger Vogler and child actor Yella Rottlander, and as such, Alice in the Cities plays an awful lot like the sobered version of Bogdanovich’s Paper Moon (1973), where man and child bond like father and daughter on their desolate return to a country where political posturing has made it difficult to get to, though both seem determined to enable circumstances and prolong the trip indefinitely. Wenders reunites with his favored DP Robby Muller, and one sees some early visual sequences they would repeat again later on ‘down the road,’ such as transposing Vogler’s face over a Polaroid snapshot of Alice, a trick Muller would masterfully rehash in Paris, Texas with the faces of Harry Dean Stanton and Nastassja Kinski. The only title in color here is Wrong Move, a film whose visual schemes of dark blues and greens are comparable to Wenders’ famed Patricia Highsmith adaptation, The American Friend (1977). Angsty and languorous, time has granted the film a rather potent mixture of melancholy and historical significance, which enhances a seemingly glacial pace of continuous walking and talking about poetry, dreams, and loneliness. Finally, in one of Wenders’ greatest achievements, Kings of the Road, he casts Vogler as Bruno Winter, a traveling projection-equipment mechanic visiting dilapidated theaters across rural West Germany. Previously, the trilogy was only available on Region 2 thanks to a 2008 release of the films from Axiom Films International Ltd, so these all new restored 4K digital transfers commissioned by the Wim Wenders Foundation represent quite an achievement for a significant trio of films long unavailable. This half hour 2016 program features interviews with Rudolf Vogler, Yella Rottlander, and Lisa Kreuzer, who claims many believe Alice in the Cities to be Wenders’ best film. This fifteen minute documentary from 2015 discusses the ongoing work of Wim Wenders Foundation and its restoration of his early output. This twelve and half minute short film by Wenders was his second short (an insert informs us his first short, Locations, has been lost). This thirty three minute short was shot on 16mm reversal film and Wenders recorded the music directly onto the magnetic track in this montage of images from Munich. Sixteen minutes of outtakes and on-set footage from the shooting of Alice in the Cities is included, but without sound.
Director Michael Almereyda conducted and edited this one hour interview with Wim Wenders in 2016 in Berlin.
Vogler and Kreuzer are featured in this twenty-one segment filmed in 2016 regarding Wrong Moves. From the same 2016 program featured on the other two discs, this half hour segment features Vogler, Hanns Zischler, and Lisa Kreuzer as they discuss their experiences on Kings of the Road.
Twenty minutes of outtakes and on-set footage from the making of Kings of the Road is included, accompanied by Axel Linstadt’s score.
Long considered one of the best road movies ever made, Kings of the Road is at last available in this beautifully restored package.
I sat down with Anne Fontaine shortly after her latest film, The Innocents (formerly “Agnus Dei”) premiered at the 2016 Sundance Film Festival. Directed by Wim Wenders and with a script written by Sam Shepherd, this story is told mostly in the form of Ry Cooder’s lingering music and a lot of poetic silence.
Made in 1984, Paris Texas  may be too slow for modern audiences more used to colour-by-numbers emotion and fast ‘n furious edits than the rich text that can lie in the unsaid, but all good things come to those that wait. When you do eventually see her in a diner, she is a vision in watermelon angora and as distant and faraway as could be. Ernst Wilhelm "Wim" Wenders is a German filmmaker, playwright, author, photographer, and a major figure in New German Cinema. There is a fleeting scene about 8 minutes into Wim Wenders’ heartbreaking but life-affirming film Paris, Texas  that has stayed with me ever since I first saw it twenty odd years ago.



The first quarter of Paris, Texas is essentially a road movie which shows just how taken Wenders was, as so many of us are, by a generic roadside Americana that includes fabulously lit-up gas stations, convenience stores and diners bathed in multicolored neon that often transforms them into alluring dreamscapes. These ideas and beliefs must inform the way in which Wenders makes his films and no doubt are one of the reasons why his films–Paris, Texas in particular–have made such an impression on me, essentially because I share the same beliefs.
Although he’d achieve his greatest glories the following decade, winning the Palme d’Or in 1984 for Paris, Texas, and then unleashing 1987’s iconic The Wings of Desire, it was this trio of titles which secured Wenders as a prolific auteur alongside the likes of Fassbinder, Herzog, Schlondorff, Schroeter, and Von Trotta, a generation of filmmakers emerging from disenfranchisement fed by growing national ennui regarding suppressed guilt over horrors of the recent past and an increasingly undetermined future slowly but surely inching towards the end of the Cold War era. He achieved one of the finest examples of 3D technology to date with his 2011 documentary Pina, soon after proving his predilection of getting lost in an obsessive process with the risible 3D narrative feature Everything Will Be Fine (2015).
Here, Wenders provides the spirit of the American road film as the jumping off point, with Vogler’s disenchanted journalist trekking across the US becoming lost in the images he sees, forced to return home when he submits photographs rather than complete his assignment. It’s one of Wenders’ least sought after titles from this period, which is curious since it’s a modernized adaptation of Goethe’s Wilhelm Meister’s Apprenticeship and stars Fassbinder fixture Hanna Schygulla in a plum role. Wenders reunites with one of his favored writers, Peter Handke for the adaptation, and showcases the West German countryside as a lush but empty wasteland. Opening with a conversation regarding the theater house as a dying past-time (recalling the opening montage of Paul Schrader’s The Canyons several decades later), Bruno eventually links up with a depressed paediatrician, Robert (Hanns Zischler, who appeared in Wenders’ debut Summer in the City, 1970) after he drives his car into a lake when his wife leaves him.
Lengthy introductions explaining the restoration process accompany the beginning of each film, with only minor wear evident (particularly in Alice) where certain segments couldn’t be fully restored from the original negative. Rottlander muses the film would not be possible today because social mores would question (or pervert) the relationship between a stranger and the little girl. Wenders is on hand to discuss the financial difficulties which compromised the preservation of his early films and how this blossomed into the idea for his foundation.
Shot on 16mm, the film is structured around the act of playing pinball, and a single three minute shot is repeated five times in different color. Wenders confirms he didn’t plan these three films as a trilogy, crediting an American critic with coining the term, which has since stuck.
Vogler surmises it’s a strange road movie since cars and motorcycles aren’t often featured, and discusses the film’s philosophical themes on external vs. Zischler refers to the experience as beautiful, never-ending summer, with Kreuzer calling the experience a pleasant, traveling roadshow, shared by a cast and crew of only eleven people. Flanked by two other equally complex studies of disconnection (from one’s self and each other), The Road Trilogy is required viewing for the cineaste and remains one of Wenders’ finest cinematic achievements.
He seems to be recovering from a grieving Amnesia, you collect the pieces of his life as he does. The scene is of Walt Henderson (Dean Stockwell) parked up at a gas station, checking his map which is propped up on the hood of his car while on the way to pick up his wayward brother Travis (Harry Dean Stanton) deep in the Texas scrubs.
Understandable I guess as reality very rarely lives up to a fictional account, especially one created by a film maker like Wim Wenders so versed in transforming the everyday into the extraordinary. I can fully relate to this and remember a time in my own childhood when spaces, landscapes and objects had this kind of resonance, either in how I co-opted them into my own imagined play-space or seeing what they could reveal about my own fears and dreams i.e.
Unrest is one of the key motifs across each of these three titles, all anchored by Wenders’ stand-in, Rudiger Vogler as a man struggling valiantly to discover or maintain his artistic integrity despite mounting melancholia and lack of fulfillment. The Road Trilogy provides us with a microcosm of Wenders at work, his processes as filmmaker and his attempt to distill the essence of loneliness into a visual portrait. A strike has downed any planes from entering Germany (the only wooden sequence here courtesy of Lois Moran as an airport hostess), and so he becomes involved with single mother Lisa (Lisa Kreuzer) and her nine-year-old daughter Alice (Yella Rottlander) who are attempting to return to Germany but don’t speak any English. Wenders transposes this aching, nameless restlessness to West Germany and would recycle tangents of this American genre across the next two films.


Vogler shines once again as a writer struggling to overcome his self-doubt and anxiety over his chosen profession, goaded by his mother to hit the road and find himself.
Bruno offers him assistance and the two men become begrudging buddies as they cross the countryside, both coming to a better understanding of themselves and their own self-imposed methods of alienation. The interview is a fascinating accompaniment to this collection, filled with plenty of interesting tidbits (such as the fact Kings of the Road was filmed without a script).
He has been nominated for the Academy Awards three times, for his documentaries Buena Vista Social Club, about the music of Cuba, Pina, about the contemporary dance choreographer Pina Bausch, and The Salt of the Earth, about Brazilian photographer Sebastiao Salgado.
I had yet to experience the great American open road even though I was living in Los Angeles at the time, but this one glorious shot encapsulated what I had always imagined a typical Stateside road trip to look, and more importantly, feel like. As both a photographer and film maker, Wenders appreciates the power of the still image which may explain why many of his films use an idle camera that allows scenes to unfold within the space of a carefully composed frame. The Beautiful Days of Aranjuez (French: Les Beaux Jours d'Aranjuez) is an upcoming drama film directed by Wim Wenders. More tonal pieces than ambitious attempts at narrative acrobatics or topical consideration, the time has come to revisit Wenders’ initial early accomplishments in their pristine, restored glory. Arguably, the first two titles of the trilogy seem a bit underwhelming, a bit lacking in presence, especially in direct comparison to something like Kings of the Road, a sprawling portrait of alienation perfectly outfitted for the Roger Miller track with which it shares its name (and utilizes in its final frames). Routed to Amsterdam, Lisa eventually abandons them to reunite with an old flame before their flight arrives, but promises to meet up with them in Holland.
He finds an odd band of fellow travelers instead, including an ex-Olympic athlete, Laertes (Hans Christian Blech), who has a mute companion (Nastassja Kinski in her film debut). Though the film features the conversations of two men, it’s all about their inability to communicate with women. As usual for Criterion’s restorations, each disc is accompanied by a handful of worthwhile bonus features.
It was selected to compete for the Golden Lion at the 73rd Venice International Film Festival..
As with most of Wenders’ obsessive themes, he would eventually carry his road trip fanaticism into the international realm with the excessive Until the End of the World (1991). Except, she never shows, leaving the journalist to struggle with Alice to find the girl’s grandmother in Germany.
They recognize a beautiful actress, Therese (Schygulla), who has been flirting with Wilhelm from a parallel train. Robert inherited some baggage from his father, and he attempts to right the wrongs imposed on his mother later in the film, giving Bruno the chance to correspond with a woman (Lisa Kreuzer) running a ticket booth at her grandmother’s theater. After attracting a lonely poet (Peter Kern), the quintet accompany one another on an aimless path.
It’s a perfectly morose depiction of how expectations and learned behaviors dictate the inability to communicate. On his final stop in the film, Vogler converses with another theater owner, a woman who inherited the business from her father and had dreams of maintaining the town’s lone theater for another generation, but she refuses to show the exploitation cinema which now rules these independent houses.



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