Las alas del deseo

The movie playbill for the American version of the movie (the one you see on the site) is quite misleading: a naked woman in the background with the title "Wings of desire" -- it almost looks as the movie should have some erotic content. But there's nothing here which will try to appeal to your immediate senses. This is a poignantly beautiful metaphysical excursion on what it means to be human. Wim Wenders has recognized the metaphysical nature of the movie by dedicating it to Truffaut, Ozu and especially Tarkovskij. And everything -- the bleakness of the landscape, the ubiquity of the Berlin wall, the anguish in which the characters are immersed -- acquires a deeper meaning when we see it through the eyes of two angels. And the sky over Berlin, with its angels, is the only thing that keeps together two painfully divided sides of the city, and the only perspective from which to see it as one.

But handle with care: if you're looking for a movie with an enthralling plot, a clear language and a reasonable pace, you'll be disappointed. The first time I saw this movie with a friend we laughed all the way. I've seen it more 5-6 times now and I've stopped laughing. I sit there and I'm mesmerized.

The movie was born without a script and it is a melting pot with dialogues by Peter Handke, improvised monologues by the actors, connecting material written by Wim Wenders. In one example, Wenders indulges too long in a scene just because he regrets removing it due to all the work the actress has made for preparing to be a trapezist. This is clearly against all rules and all common sense.

Despite all this the movie works and the reason is, the movie somehow manages to touch deep strings all the way through, because of its beautiful imagery (thanks to director of photography Henri Alekan), its eerie soundtrack, the disorderly collection of truly poetic dialogues/monologues, very inspired acting, and the impredictable combined effect of all this -- surely beyond what was planned by Wim Wenders himself. Should I add that the movie has created its own language for making its point?

The film has also become an incredible documentary on Berlin just before the fall of the wall.

There are so many comments written about this movie, I almost don't want to write anything - but here I am anyway :)

Though everyone is entitled to their own opinion, it disturbs me to read negative comments that WOD is 'too slow' or that Wenders should have been a still life photographer. I think that some people are missing the point of this movie. Wenders filmed this after having been part of the Hollywood machine for several years, and had grown sick of the cookie cutter films that were (and still are) being made in that tradition to produce ticket sales. Yes, this movie doesn't have loads of action and car chase scenes and guns and sex. It does offer some interesting perspectives. The consistent third person view and 'objectification' of the viewer is one aspect. Watching WOD, you don't feel the typical draw into the movie as so often is the case, but rather are a bystander, looking through a window, with your own thoughts and ideas a part of the movie, not the other way around. WOD doesn't allow you to become a subjective part of the film; it 'pushes' you away from empathizing. Even the camera angles and shots motivate this sentiment. The goal and direction of the film are presented without struggle or thought; you know that Damiel wants to be with Marion. He tells Cassiel this, and the only question is - how will he achieve this goal?

WOD belies a sense of traditional film-making. Peter Falk is presented as perhaps the 'idea' of history as fans call out 'Colombo!' The angels are bound to Berlin, existing in a purgatory neither heaven or hell, unable to communicate. The trapeze artist from a traveling circus representing freedom - not only freedom from an everyday lifestyle, but also the key to Damiel's freedom. This movie contains so many interesting ideas and perspectives, that when watched with an open, curious mind, it is fascinating, mesmerizing, calming and inspirational. Filmed entirely in Berlin, the city is not a traditional definition of beautiful. But the industrial, modernist, post WW II reconstructed Berlin is stunning and diverse, providing the perfect background for this modern classic. I cannot recommend this movie enough. But please watch it with open eyes. In the same sense you cannot listen to the music of Schoenberg or Stravinsky as you would Mozart, you cannot watch Wings of Desire as you would a Spielberg movie.

A visually beautiful film, which boasts one of the most poetic and literary scripts ever- the dreamlike poetry of the dialogue fits seamlessly in with the overpowering visuals. The acting is of very high callibre too, with Peter Falk adding a very welcome dimension to the film and Bruno Ganz proving a master at acting via expression and nuance. The storyline is nice and simple and is given much additional poignancy and depth by the way Wenders directed, Henri Alekan photographed and the choice of music for certain scenes- the use of Nick Cave's "The Carney" is especially perfect for the scene in which it was used, as was the music during the main scene where we get to see Marion's Trapeze act- the music, visual mastery and the act itself combine to stunningly entrancing effect. That 100 people have given this film a 1/10 mark is almost beyond belief, as it is an absolute joy from start to finish. Rating:- ***** (out of *****)

A calm and wonderful fantasy with such a simple vision that makes you want to believe in angels. Perhaps they are there... whenever my mood changes, seemingly unprompted, I always wonder.

Hijacked and debased by people who don't know any better (even U2, I'm afraid, and the American remake must be avoided at all costs - ideally it should be wiped from the record and the memories of all who saw it) this film has become iconic and has infected the imaginations of countless filmmakers. Look carefully and you will see its influence in the most unexpected places.

I always thought that one masterpiece is all that anyone can aspire to in life. Wim Wenders has made several but for me this one stands out above all others. My favourite film.

Many reviewers here fawn over this film and dismiss anyone who does not share their worship as being juvenile or a philistine. I've watched enough films to know whether a film is truly profound or whether it is pretentious. Wings of Desire sways towards the latter.

It has a great premise- angels (not winged creatures but men in cool black coats, similar to the portrayal of the dead in Orphee) watch over late eighties Berlin, observing the humans they see around them. One angel (Bruno Ganz) falls in love with a mortal trapeze artist (Solveig Dommartin). You would think that this would be a winning formula and therefore a brilliant film. I was disappointed to find out that although it may not be a bad film, it is by no means a brilliant one.

The cinematography is great, although the monochrome angels and technicolour humans had already been done 40 years previously. We get some great shots of urban Berlin, which gives the film an interesting cultural context. It almost acts as a time capsule, and had Wenders concentrated on this aspect of the film, the film would not seem as unfocused and vague as it does.

The worst part of the film is the dialogue, which is pseudo-philosophical naval gazing. I don't mind introspective dialogue but when every sentence is some vague existential musing, I tend to tune out, which is fatal for this film as the action is essentially in their internal monologues. The trapeze artist's final monologue could have worked had the whole film not been composed in that way but the monologue is basically a repetition of what has been constantly repeated throughout the film. Some arty types might forgive this because they see it as some universal truth but for most, it is simply repetitive to the point at which it becomes meaningless.

I forgot the love story! Seems that Wenders did that too because it only makes an appearance in the last half-hour or so of the film, although there were tiny hints earlier on. Because the romance is so unprominent for most of the film, when it finally comes to it, you wonder why the film was two hours long and not one hour. Apart from the misjudged monologue by the trapeze artist, it is quite a romantic scene. Her dress is stunning.

Potentially a great thought-provoking film but self-indulgence on the director's/writers' part causes the film to feel unfocused and vague. The film tries to deny its artificiality by adding in lots of 'profound' dialogue but there are many points in the film where it comes off as very superficial. It's a bit like a New Romantic pop video.