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Storyline
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 later, Monroe is disappeared but has left the unfinished film. Winter decides to stay, because he is fascinated of the city and the Portuguese singer Teresa, and he starts to record the sound of the film. At the same time Monroe cruises through the city with a camcorder and tries to catch unseen pictures. Later they meet and Winter convinces Monroe of finishing the film. Written by
Christoph Blendinger <blendi@iam.uni-bonn.de>
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Did You Know?
Trivia
"Ah não ser eu toda a gente e toda a parte!". This phrase (roughly translated as "Would I be everybody and everywhere!"), written in one of the walls of the house where Winter's staying, is the last verse of "Ode Triunfal", a poem by Álvaro de Campos, one of the three main heteronyms of Portuguese poet Fernando Pessoa.
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Quotes
Phillip Winter:
Listen. You have to guess what this is.
[
makes sound of horse running]
Beta:
A horse! He's afraid!
Zé:
Yeah, horse!
Vera:
That's it!
Sofia:
He's running very fast! He's galloping!
Phillip Winter:
Right. And who is always on a horse?
Zé:
A cowboy.
Phillip Winter:
Right. And now...
[
makes sound of lighting a match]
[...]
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Connections
References
Man with a Movie Camera (1929)
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Soundtracks
"O MILAGRE"
Lyrics by Pedro Ayres Magalhaes
Music by Rodrigo Leao
Performed by
Madredeus See more »
Wenders has shot a visual gem with rich sound and music, whose story-line and entire raison-d'etre is a tribute to film-making itself. Every frame is composed, dramatic, and the complementary colour theme of blue-yellow-red (predominantly sky blue) is adhered to so closely, it's phenemonal and delectable.
Waiting for the supposed main character Friedrich, played by Patrick Bauchau, to show up in the film, eventually becomes a metaphor for those times in life when one waits for the "main event", and it's a long time coming. Life is what happens while we're waiting for life to begin.
Rudiger Vogler's Phillip gets to deliver a wonderful lecture to all pretentious artists everywhere who've lost their way, and to art film-makers like Friedrich, especially. We're so happy to hear him dressing down Freidrich, and doing so more articulately than we could have done, it gives this fairly slow-moving film a wonderful sense of resolution and direction.
A very human film about the ordinary, the magic in the ordinary, and the ability of film to convey that magic. Loved it.