Six days in the life of Wilhelm: a detached man without qualities. He wants to write, so his mother gives him a ticket to Bonn, telling him to live. On the train he meets an older man, an ... See full summary »
Hans Christian Blech
On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's _Day the World Ended, The (1956)_. The producer is nowhere to be found and director ... See full summary »
In 17th-century Salem, Hester Prynne must wear a scarlet A because she is an adulteress, with a child out of wedlock. For seven years, she has refused to name the father. A vigorous older ... See full summary »
Hans Christian Blech,
Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two ... See full summary »
The director Friedrich Monroe has trouble with finishing a silent b&w movie about Lisbon. He calls his friend, the sound engineer Phillip Winter, for help. As Winter arrives Lisbon weeks ... See full summary »
A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film... See full summary »
Tom Ripley has a sweet deal with an art forger. The forger creates the paintings; Tom sells them. But another criminal business associate wants Tom to go in for an even riskier enterprise: murder. Tom suggests his associate ask a local picture framer instead. That man has a fatal disease, or so it's rumored. More, he has a wife and kid that surely he wouldn't want to leave penniless. Let this picture framer be a hit man, and no one will suspect. The terminally ill craftsman may agree to the misdeed, and several more, but he'll end up needing Tom Ripley in a pinch. Written by
Though primarily based on the Patricia Highsmith novel "Ripley's Game," the film also uses elements, uncredited, of "Ripley Under Ground," which was later adapted to film in 2005 as Ripley Under Ground (2005). Specifically, Ripley's involvement in an art forgery scheme, and the Derwatt character. In the film, Derwatt has seemingly faked his own death and "forges" his own paintings, which Ripley then sells. In "Ripley Under Ground," Derwatt dies before the story begins, and Ripley and his accomplices conspire to trick the public into thinking he's still alive while a Derwatt admirer forges new paintings in his name. See more »
I consider myself to be a Wim Wenders fan - sort of. I liked Wings of Desire and Paris, Texas. But The American Friend, despite some great location and architectural camera-work, is really a failed experiment. The problem is that Wenders seems unsure about whose point of view he is really taking. Dennis Hopper's Ripley is certainly more intriguing to him than Ganz's poor sad sack - and he tries to tell it from Ripley's point of view. But Wenders never really gets a handle on what makes the character tick - he's just Hopper doing crazy stuff. Ganz's character is really the soul of the movie - faced with uncertainties and painful decisions, and being at an existential loss to know how to live out his life. His story is the compelling one - and his character is the empathetic one. But we keep bouncing back to Ripley for unconvincing "character arcs" and increasingly more preposterous scenarios.
There are some exciting and suspenseful moments in the middle of the film, but the prolonged and (unintentionally?) comic climax left me disappointed and disengaged. I don't mind films that are ambiguous. In fact, I relish them. This film is seeks to be ambiguous and open ended, is actually crippled by inconsistencies, contradictions, and just plain undeveloped and vague scenarios.
Hopper is hyper-kinetic and is more amusing than threatening. Ganz is the counterpoint, with his quiet, soulful performance.
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