“The Yanks have colonized our subconscious"
Bruno (Rudiger Vogler) is a Cinema projector repair man who
travels from town to town along the West and East German border repairing old
cinema projectors. One day while shaving by the side of a road, a man drives
his car at high speed into a lake, gets out and walks over to Bruno. Bruno, not
knowing what else to do laughs at the man and offers him some clean clothes.
The man, Robert (Hanns Zischler) hitchhikes with Bruno from town to town
beginning a strange and often uneasy friendship.
The film has several themes which jump out at you and are
present throughout. The first is a love of cinema and anger at what has become
of the small German cinema. Most of the cinemas that Bruno visits are either
badly run, have been turned into porn theatres or are closed altogether. This
is director Wim Wenders way of showing viewers what is happening to small cinemas.
It is a problem which over thirty years later is still present in my own
country. Occasionally Bruno will come across a small, old theatre run by an ex
Nazi that is run with care and dedication. A place where old, noisy machines
are used by artisan projectionists to show the great classics of the 50s and
60s but generally he deals with people who have no interest in film or it’s
proper projection. This film is very much a love letter to film.
A second theme is that of loneliness. Both men are
incredibly lonely. Robert’s half hearted suicide attempt and constant
depression is due to his loneliness after his wife has left him while Bruno
spends his life on the road, in an old van, with no time for any love or
affection from a woman. For large swathes of the film nothing is said but much
is learned through glances and slight comments. It isn’t until over an hour in
that we discover what the characters names are and it is about two days after travelling
together that the two men actually reveal their names. Both are used to silent existences.
In one telling scene, Robert confronts his father about never being allowed to
speak and we gain insight into why he is so silent.
The third and final central theme is the Americanisation of
Germany. This is a theme of the entire second half of the twentieth century but
obviously something that affected West Germany in a large way. When
talking about American music Bruno states that “The Yanks have colonized our subconscious”.
Although filmed and set in the mid 1970s it is still obvious that the Second
World War is in the back of everyone’s minds. Bruno lost his father to it, the
elderly people were party members and the Americans still have a say in the
daily lives of Germans who like Bruno and Robert were possibly not even born in
1945. There is a sense that the men and Germany as a whole have been castrated
by American ‘imperialism’ and that is one of the factors in their introverted
and non communicative personalities.
A visual metaphor that Wenders uses is a railway. For much
of the film, the men are seen to drive parallel to railways as though to
indicate that they are remaining with the status quo and nothing is changing in
their lives. In one telling scene, Robert has to cross the line to confront his
father and in another he stands very close to it as a train passes, almost as
if he is desperate to cross but can’t quite manage it. It is as if the line is
a barrier between their current selves and what they could be. This is
confirmed in the closing scene in which the two men part company.
Shot in black and white the film has the kind of hyper
realism of Martin Scorsese's contemporary films. Wim Wenders goes a step
further though and is not afraid to show the audience every part of a person’s
life. In one early scene Bruno is seen parking his van/home near a beach,
walking on to the beach, squatting and defecating. The faeces are actually visible
leaving his body. The scene is unexpected and shocking but makes you realise
that you are seeing every part of this person’s life and that nothing is being
left out. In later scenes a cinema projectionist is seen to be masturbating,
again showing the entire act and Robert is filmed urinating, once again hiding
nothing. This hyper realism was unexpected and is responsible for the film’s ‘18’
Certificate in the UK .
Was it necessary? No. But it let the audience know that nothing was being
hidden from them.
The plot itself is very slow and nothing much happens for a
long time. It is the lack of communication that drives the tension rather than
car chases or explosions etc. You almost want to reach into the film and start
a conversation. The film also feels older than it is in part due to the black
and white but also because the rural Germany in which the protagonists
are driving through feels unchanged from before the war. The landscape of the
towns reminded me of rural Slovakia ,
a country which today feels somewhat more ‘backward’ and less developed than Germany .
The acting is very realistic and the script also adds to the
realism. Wenders’ shooting technique is visually arresting but the film is
nearly three hours long and feels longer. It’s a film that I’m glad I watched
and would recommend to hardcore cineaste but a lot of people will find the film
boring. I thought it was excellent but I could have done with an hour less of it.
8/10
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