Film Reviews by griggs

Wim Wenders’ Wings of Desire is an evocative exploration of the human condition, blending poetic visuals with profound existential themes. The film delves into the essence of humanity through the eyes of Damiel (Bruno Ganz), an angel who yearns to experience mortal life’s physical and emotional realities. Set against the backdrop of a divided Berlin, the movie serves as a poignant time capsule, capturing the city’s dramatic landscapes and desolate wastelands, remnants of a bygone era.

The human condition is at the film’s core, portrayed through the angelic observers silently witnessing human existence’s intimate struggles and fleeting joys. Damiel’s longing to transition from an ethereal observer to a participant in the chaotic, tactile world of humans is a metaphor for the universal desire to find meaning and connection. His transformation is a testament to the beauty of ordinary life, where even pain and suffering are embraced as part of the rich tapestry of human experience.

Peter Falk’s performance as a version of himself is both surprising and deeply resonant. Best known for his role as the rumpled detective Columbo, Falk plays a former angel who has successfully transitioned to a human life. His character serves as a mentor and guide for Damiel, embodying the wisdom of one who has experienced both realms. Falk’s presence adds a layer of warmth and humour to the film, grounding its ethereal themes in the relatable reality of everyday life.

The film’s soundtrack, featuring Nick Cave and the Bad Seeds, further amplifies its haunting and melancholic atmosphere. With its raw and emotive quality, Cave’s music perfectly complements the film’s exploration of love, longing, and existential angst. His appearance in the film is more than a musical interlude; it’s a narrative bridge that connects the celestial and the earthly, underscoring the visceral intensity of human emotion.

Wings of Desire also serves as a visual elegy for Berlin, capturing its stark and desolate beauty before the fall of the Berlin Wall. The city’s landscapes, depicted in stunning black-and-white cinematography, are imbued with a sense of historical weight and melancholy. These images of Berlin, with its ruins and empty spaces, are not just a backdrop but a character, symbolizing the division and isolation that mirrors the internal struggles of its inhabitants. As such, the film preserves a version of Berlin that no longer exists, making it an invaluable historical document and a work of art.

Wings of Desire is a masterful meditation on the human condition, enriched by Falk’s endearing performance and Cave’s poignant music. Its portrayal of Berlin’s dramatic landscapes and wastelands captures a moment in time, making the film an essential piece of cinematic history. It is a timeless exploration of what it means to be human, filled with beauty, sorrow, and an enduring sense of wonder.

Long heralded as a classic, upon closer viewing, All About Eve reveals significant shortcomings that make it a challenging watch for modern audiences. Clocking in at over two hours, the film feels overlong and struggles to maintain a gripping pace. The plot twists, which might have been more surprising at its release, are now glaringly predictable, stripping the story of much-needed suspense and intrigue.

A critical flaw in “All About Eve” is the lack of genuine jeopardy or consequence for its characters. This absence creates a dull atmosphere where the stakes never feel exceptionally high, diminishing the impact of what should be dramatic moments. The characters, from Margo Channing to Eve Harrington, are difficult to sympathise with. Their motivations and actions often come across as self-serving or manipulative, making it hard for viewers to connect with them on any meaningful level.

All About Eve may have historical significance, taking a spot on the AFI 100 list, its drawn-out narrative, predictable plot twists, and unrelatable characters make it a rather tedious experience.

The Silent Partner is a must-watch for fans of Christmas heist thrillers if such a genre exists. It offers a refreshing take on the genre, with intelligent plotting and memorable performances.

One of the standout aspects of the film is its intricate plot and the psychological duel between Elliot Gould and Christopher Plummer. The script is tightly woven, ensuring every twist feels surprising, balanced, and inevitable. Plummer’s performance as the menacing thief is chillingly effective, providing a formidable adversary that keeps viewers on the edge of their seats.

The film’s setting during Christmas adds an ironic contrast to the unfolding criminal activities, similar to Die Hard. However, The Silent Partner uses this festive backdrop to enhance the film’s eerie atmosphere, whereas Die Hard uses it to amplify chaos and humour.

Though it may not have the same cultural impact as Die Hard, it remains a hidden gem that deserves more recognition. The Silent Partner delivers a rewarding watch for those who appreciate an intelligent, suspenseful narrative.

As I embark on the journey through the AFI 100, The Searchers stands out as the first film I've genuinely struggled to enjoy. Despite its heralded status in cinematic history, several factors marred the experience, making it uncomfortable viewing.

Firstly, it's impossible to ignore the blatant racism depicted throughout the film. While some may argue it's a product of its time, the portrayal of Native Americans is jarringly insensitive by today’s standards. This aspect alone might alienate modern audiences, and it certainly put a damper on my viewing experience.

John Wayne, as the lead, casts a long shadow over the narrative. His portrayal is undeniably commanding, yet it imbues the film with an uncomfortable aggressiveness that is hard to shake. Wayne's domineering presence, intended to be a cornerstone of the film's appeal, instead adds to the unease, making the character's motivations and actions difficult to empathise with. From what we know of the man, often it’s difficult to separate John Wayne, the actor, from the character he portrays.

Native Americans continue to be shown as violent savages, as they often are in traditional Westerns. However, a key difference in this narrative is that the white characters are portrayed with equal brutality.

The cinematography of John Ford and Winton C. Hooch is undeniably stunning. The sweeping landscapes and meticulous framing create breathtaking visuals that capture the wild beauty of the American West. These scenes are the high points of the film, showcasing director Ford’s eye for composition and colour.

However, beautiful scenery alone does not make a movie enjoyable. The narrative and character interactions felt lacking. Beyond the aesthetics, I found few redeeming features in its two-hour runtime, leaving me disconnected for the majority of the film and eager for the credits.

Should this be on this be on the AFI list? Well, John Ford has better films on the AFI list, such as The Grapes of Wrath, and there are other superior Ford vehicles starring Wayne that didn’t make the 100. So, I have to say a resounding no.