On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's Day the World Ended (1955). The producer is nowhere to be found and director Friedrich... 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,
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 »
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 »
Set in 1999, a woman (Dommartin) has a car accident with some bank robbers, who enlist her help to take the bank money to a drop in Paris. On the way she runs into another fugitive from the... See full summary »
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 »
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
Jonathan Zimmerman (Bruno Ganz) is an easy going Swiss picture framer living in Germany who believes he is dying from a rare blood disease. When he makes the acquaintance of Tom Ripley (Dennis Hopper), an art dealer of dubious reputation, he is faced with a profound moral question. Should he commit a murder for Ripley's underworld associate, Raoul Minot (Gérard Blain) in order to guarantee the lifelong security of his wife Marianne (Liza Kruezer) and son Daniel (Andreas Dedecke)? Based on the novel Ripley's Game by Patricia Highsmith, Wim Wenders The American Friend is a probing character study of two very different men, one a solitary high stakes adventurer, the other a staid family man grown desperate by his circumstances. Perhaps as a result of an unacknowledged admiration for the other's lifestyle, the business relationship between the two men slowly develops into a reluctant friendship, powerfully illustrating the complexity of the human condition.
Shot in Paris, New York, and Hamburg, Germany, Cinematographer Robby Muller's moody waterfront shots and interior yellow-green color images enhance the mood of paranoia and keep the tension flowing. Cameo appearances by directors Nicholas Ray as a painter who faked his own death and Sam Fuller as an American mobster pay homage to these icons of American cinema. The plot centers around Ripley's revenge for an offhand remark Zimmerman made at an art auction, first spreading the rumor that is health is failing rapidly, then driving him to undertake an act that he would normally consider morally reprehensible. In trying to convince Zimmerman to commit the crime, Raoul offers to provide the services of a Paris hematologist but the lab results are faked and Zimmerman more than ever is convinced that he is going to die. Reluctantly, he commits the murder in a brilliant set piece aboard the Paris Metro, then slowly sinks into a maelstrom of deceit and deception that adds additional twists and turns to an already intricate plot.
Though questions remain unanswered, the strength of the film is not in the plot but in its multi-leveled characterizations and powerful performances. Ganz is fully believable as the decent man tortured by a moral dilemma and Hopper, rebounding from a period of substance abuse, turns in a performance of diabolical intensity as the underworld-connected profiteer. The American Friend avoids the temptation to be simply another film noir thriller or a good versus evil escapade, showing fully realized human beings who have thoughts and feelings we can understand even when we strongly disapprove of their actions. I just have one question. Didn't any one ever tell Zimmerman about life insurance?
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