Wim and wigor Di­rec­tor Wim Wen­ders gets a ret­ro­spec­tive at Jean Cocteau Cin­ema and the Screen

WIM WEN­DERS RET­RO­SPEC­TIVE AT JEAN COCTEAU CIN­EMA AND THE SCREEN

Pasatiempo - - CONTENTS - Jonathan Richards De­sire

You have to be very good at some­thing, and do a lot of it over a long pe­riod, be­fore they’ll give you a ret­ro­spec­tive. Wim Wen­ders has done all of that. Wen­ders has been mak­ing movies since the early ’70s. He has made more than 40 of them. A healthy per­cent­age have been very good, and some of them are clas­sics. The Goalie’s Anx­i­ety at the Penalty Kick (1972) won the FIPRESCI (In­ter­na­tional Film Crit­ics) Award at the Venice Film Fes­ti­val that year and put Wen­ders on the map of in­ter­na­tional cin­ema. Wings of (1987) won him a Best Di­rec­tor prize at Cannes. His 2011 doc­u­men­tary Pina drew nom­i­na­tions at the Os­cars and BAFTAs — the Bri­tish Academy of Film and Tele­vi­sion Awards — as well as a slew of other in­ter­na­tional nom­i­na­tions and awards. There have been a lot of other hon­ors along the way. Wen­ders is be­ing rec­og­nized this month with a joint ret­ro­spec­tive at two of Santa Fe’s art houses. The Screen (1600 St. Michael’s Drive) will be show­ing Kings of the Road (1976), The Amer­i­can Friend (1977), Tokyo-Ga (1985), Wings of De­sire (1987), and Note­book on Ci­ties and Clothes (1989). Over at Jean Cocteau Cin­ema (418 Mon­tezuma Ave.), the lineup is The Goalie’s Anx­i­ety at the Penalty Kick, Alice in the Ci­ties (1974), The State of Things (1982), Paris, Texas (1984), and Buena Vista So­cial Club (1999). (De­tails about th­ese ti­tles are avail­able at the web­sites of the Screen and Jean Cocteau.)

The two film cu­ra­tors, Brent Kliewer of the Screen and Jon Bow­man of Jean Cocteau, got to­gether and chose the slates like cap­tains pick­ing play­ers for a sand­lot game.

“Wen­ders just re­stored about 12 or 13 of his fea­tures him­self,” Bow­man told us. “And we’re show­ing 10 of those. We went down the lineup and said, ‘OK, what do you want, what do I want?’ Brent and I talked, and he picked five, and I picked five. We tried to make it even, roughly. They’re dif­fer­ent: The ones he chose may re­flect more the Screen’s taste and the Screen’s au­di­ence; the ones I picked were more for the Jean Cocteau. But we tried to do it so each has some of the choice ones. He has Wings of

De­sire; I have Paris, Texas.” Kliewer con­curred. “We both wanted one of the early pic­tures. Jon has Alice in the Ci­ties; I have Kings of the Road. I re­ally like The Amer­i­can Friend; it’s one of those per­sonal things. The Amer­i­can Friend is one of Pa­tri­cia High­smith’s Ri­p­ley sto­ries. Den­nis Hop­per plays Ri­p­ley. It was High­smith’s fa­vorite Ri­p­ley film. Now, let me qual­ify that: She did not live long enough to see The Tal­ente r. ip­ley of the late ’90s. She died in ’95.”

Wen­ders’ out­put has seen its ups and downs. There have been some clunkers over those five decades. A re­cent ar­ti­cle by Richard Brody in The

New Yorker, ti­tled “Where Wim Wen­ders Went Wrong,” looks at the ret­ro­spec­tive (which is play­ing in the­aters around the coun­try) and posits that Wen­ders’ ca­reer came a-crop­per in the mid-’70s, be­tween one pic­ture and the next. “Wen­ders’ own films, es­pe­cially Kings of the Road, were ex­pressly cinephilic. But with The Amer­i­can Friend, he tried some­thing dif­fer­ent: rather than mak­ing a film about movies, he made a movie that re­called the Amer­i­can movies he loved.” It was the be­gin­ning of the end. “In that shift,” says Brody, “Wen­ders went from be­ing one of the most in­trepid and orig­i­nal di­rec­tors of the time to be­ing him­self an art-house sig­ni­fier.”

“A cheap shot,” Bow­man grum­bled. “It seemed to me kind of jaded, like the guy had some is­sues or some­thing. You could say that stuff about any­one.”

“This Brody makes me mad,” Kliewer fumed. “I’m sorry; he writes gob­bledy-gook!” On re­flec­tion, Kliewer ac­knowl­edged there was some falloff in Wen­ders’ later out­put, par­tic­u­larly on the fic­tion side. “Well,

Hammett was bad,” he said, re­fer­ring to Wen­ders’ 1982 de­but Amer­i­can fea­ture pro­duced by Fran­cis Ford Cop­pola, a film noir adap­ta­tion of a novel about the great de­tec­tive writer. “But it re­ally isn’t till Un­til The End

of the World (1991) that it all goes south, in the early ’90s, af­ter his tremen­dous suc­cess with Wings of De­sire in ’87 — which I think is a won­der­ful pic­ture. That’s his big­gest suc­cess. And it killed him. Af­ter that, he had huge bombs on fea­ture films; they’re bad-to-un­watch­able in my opin­ion. But how­ever bad the fea­tures have been, he’s ex­celled at doc­u­men­taries.”

Wen­ders is part of a school of Ger­man film­mak­ers that came of age in the late ’60s. “Re­mem­ber,” said Kliewer, “a par­tic­u­lar zeit­geist of this gen­er­a­tion of Ger­man film­mak­ers is that they all were born dur­ing the war. You had Her­zog, you had Fass­ben­der, Volker Sch­lön­dorff, Mar­garethe von Trotta. There’s a real search­ing, a tap­ping into ‘What is our place in this world? What re­spon­si­bil­ity do we have to ac­knowl­edge what our fa­thers did?’ There’s a melan­choly there. And this is all cin­ema be­ing made at a time when Ger­many was di­vided, East and West. Re­mem­ber, the other great Ger­man epoch in film­mak­ing was the ’20s, when you had Mur­nau and Lang; they were the great­est. This was the first time since then that Ger­man film­mak­ing had made a con­nec­tion to the out­side world. It re­ally didn’t be­come an in­ter­na­tional force again till th­ese guys burst onto the scene in the late ’60s.”

Bow­man agreed. “Wen­ders is one of the few peo­ple who have that con­nec­tion of un­der­stand­ing Amer­ica and Europe. In the ’30s there were a lot, be­cause they were all com­ing to Hol­ly­wood. Fritz Lang, Ernst Lu­bitsch — a lot of them were Ger­man or Aus­trian. But in the ’60s and ’70s, I didn’t have that sense that there were a lot of Euro­pean film­mak­ers who re­ally un­der­stood Amer­i­can film his­tory. They ap­pre­ci­ated it, but they didn’t dwell in it.” He thought a mo­ment and then added, “Of all this gen­er­a­tion of Ger­man film­mak­ers, he’s the one I like the most. Partly be­cause he’s the most Amer­i­can in his sen­si­bil­ity.”

Some of that sen­si­bil­ity was forged right here. Kliewer pointed out that Wen­ders spent some time in Santa Fe in the early ’80s. “When he did Paris, Texas, Kit Car­son wrote that, and Wen­ders hung out here and lived here. Den­nis Hop­per was liv­ing in Taos at the time The Amer­i­can

Friend was made. So there was a lo­cal con­nec­tion.” He may be tak­ing a look over his shoul­der with this ret­ro­spec­tive, but Wen­ders, at sev­enty, shows no signs of slow­ing down. “He’s re­ally ded­i­cated,” Bow­man mar­veled. “I mean, the guy never stops. He has a new fea­ture [Ev­ery Thing Will Be Fine, his first dra­matic fea­ture in seven years] com­ing out in De­cem­ber, with James Franco and Char­lotte Gains­bourg and Rachel McA­dams. We may end up play­ing it.”

He may be tak­ing a look over his shoul­der with this ret­ro­spec­tive, but Wen­ders, at sev­enty, shows no signs of slow­ing down. “He’s re­ally ded­i­cated. I mean, the guy never stops,” says Jon Bow­man.

CCA CINE­MATH­EQUE AND SCREEN­ING ROOM

1050 Old Pe­cos Trail, 505-982-1338, www.ccas­antafe.org Drunk Stoned Bril­liant Dead: The Story of the Na­tional Lam­poon (NR) Fri. to Wed. 4 p.m., 6 p.m., 8 p.m. Thurs. 4 p.m. Nos­fer­atu with Live Per­for­mance from

The In­vin­ci­ble Czars (NR) Thurs. 7 p.m. Vic­to­ria Fri. to Sun. 1:15 p.m., 2 p.m., 4:45 p.m., 7:30 p.m. Mon. to Thurs. 2 p.m., 4:45 p.m., 7:30 p.m.

JEAN COCTEAU CIN­EMA

418 Mon­tezuma Av­enue, 505-466-5528, www.jean­cocteaucin­ema.com

Alice in the Ci­ties (1974) (NR) Fri. 4:30 p.m. Sat. 4:20 p.m. Mon. 4:30 p.m. Wed. 4:20 p.m.

The Bride of Franken­stein (NR) Fri. and Sat.

11:40 p.m. Thurs. 1 p.m.

Buena Vista So­cial Club (1999) (G) Fri. 9:30 p.m. Sat. 6:50 p.m. Mon. 7 p.m. Wed. 6:30 p.m. Thurs. 3 p.m.

The Goalie’s Anx­i­ety at the Penalty Kick (1972)

(NR) Fri. 2 p.m. Sun. 1 p.m. Tue. 4:30 p.m.

Paris, Texas (1984) (NR) Fri. 6:40 p.m. Sat. 9 p.m. Sun. 6:30 p.m. Wed. 8:40 p.m. The Rocky Hor­ror Pic­ture Show (R) Thurs. 10 p.m. The State of Things (1982) (NR) Sat. 2 p.m. Sun. 3:20 p.m. Wed. 2 p.m.

Tour of Duty (NR) Thurs. 5:30 p.m.

RE­GAL DEVAR­GAS

562 N. Guadalupe St., 505-988-2775, www.fan­dango.com

Free­held (PG-13) Fri. and Sat. 12:20 p.m., 3:20 p.m., 6:20 p.m., 9:05 p.m. Sun. to Thurs. 12:20 p.m., 3:20 p.m., 6:20 p.m.

He Named Me Malala (PG-13) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:15 p.m. Sun. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m.

The In­tern (PG-13) Fri. and Sat. 12 p.m., 3 p.m., 6 p.m., 8:50 p.m. Sun. to Thurs. 12 p.m., 3 p.m., 6 p.m.

Jem and the Holo­grams (PG) Fri. and Sat. 12:10 p.m., 3:10 p.m., 6:10 p.m., 8:55 p.m. Sun. to Thurs. 12:10 p.m., 3:10 p.m., 6:10 p.m.

The Last Witch Hunter (PG-13) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9 p.m. Sun. to Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m.

Meet the Pa­tels (PG) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:10 p.m. Sun. to Thurs. 12:40 p.m., 3:40 p.m., 6:40 p.m.

RE­GAL STA­DIUM 14

3474 Za­farano Drive, 505-424-6296, www.fan­dango.com

Bridge of Spies (PG-13) Fri. to Wed. 12:30 p.m., 3:40 p.m., 7:10 p.m., 10:10 p.m. Burnt Thurs. 7 p.m., 9:45 p.m.

Crim­son Peak (R) Fri. to Sun. 1 p.m., 4 p.m., 7:45 p.m., 10:30 p.m. Mon. to Wed. 1 p.m., 4 p.m., 7:45 p.m., 10:30 p.m.

Ever­est (PG-13) Fri. to Sun. 4:20 p.m., 7:15 p.m. Mon. to Wed. 4:20 p.m., 7:15 p.m.

Goosebumps 3D (PG) Fri. to Wed. 12:30 p.m.,

10:40 p.m.

Goosebumps (PG) Fri. to Sun. 3:05 p.m., 5:40 p.m., 8:15 p.m. Mon. to Wed. 3:05 p.m., 5:40 p.m., 8:15 p.m.

Ho­tel Tran­syl­va­nia 2 3D (PG) Fri. to Wed. 10 p.m. Ho­tel Tran­syl­va­nia 2 (PG) Fri. to Sun. 12:30 p.m., 2:50 p.m., 5:15 p.m., 7:40 p.m. Mon. to Wed. 12:30 p.m., 2:50 p.m., 5:15 p.m., 7:40 p.m.

The In­tern (PG-13) Fri. to Sun. 1:10 p.m., 4:10 p.m., 7:05 p.m., 10:05 p.m. Mon. to Wed. 1:10 p.m., 4:10 p.m., 7:05 p.m., 10:05 p.m.

Jem and the Holo­grams (PG) Fri. to Wed. 12:40 p.m., 3:30 p.m., 7:05 p.m., 9:55 p.m.

Ladrones (PG-13) Fri. to Sun. 12:35 p.m., 3:05 p.m., 5:30 p.m., 8 p.m., 10:25 p.m. Mon. and Tue. 12:35 p.m., 3:05 p.m., 5:30 p.m., 8 p.m., 10:25 p.m. Wed. 1:40 p.m., 4:10 p.m., 10:25 p.m.

The Last Witch Hunter (PG-13) Fri. to Sun. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:30 p.m. Mon. to Wed. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:30 p.m.

The Mar­tian 3D (PG-13) Fri. to Sun. 4:15 p.m., 10:40 p.m. Mon. to Wed. 4:15 p.m., 10:40 p.m.

The Mar­tian (PG-13) Fri. to Wed. 1:05 p.m., 7:25 p.m.

Pan (PG) Fri. to Sun. 1:40 p.m., 4:35 p.m., 7:35 p.m., 10:30 p.m. Mon. to Wed. 1:40 p.m., 4:35 p.m., 7:35 p.m., 10:30 p.m.

Rock the Kas­bah (R) Fri. to Sun. 1:20 p.m., 4:25 p.m., 7:20 p.m., 10:20 p.m. Mon. to Wed. 1:20 p.m., 4:25 p.m., 7:20 p.m., 10:20 p.m.

Si­cario (R) Fri. to Sun. 12:45 p.m., 4:10 p.m., 7:15 p.m., 10:20 p.m. Mon. to Wed. 12:45 p.m., 4:10 p.m., 7:15 p.m., 10:20 p.m.

Steve Jobs (R) Fri. to Sun. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Mon. to Wed. 1 p.m., 4 p.m., 7 p.m., 10 p.m.

Wood­lawn (PG) Fri. to Wed. 1:15 p.m., 10:15 p.m.

THE SCREEN

Santa Fe Univer­sity of Art & De­sign, 1600 St. Michael’s Drive, 505-473-6494, www.the­screensf.com

The Amer­i­can Friend (1977) (NR) Fri. 7:30 p.m. Sat. 2 p.m. Sun. and Mon. 7:30 p.m. Tue. 3:10 p.m. Thurs. 3 p.m.

Kings of the Road (1976) (NR) Fri. 4 p.m. Sat. 7:15 p.m. Sun. 1:30 p.m. Tue. 7:30 p.m. Thurs. 3:30 p.m.

Note­book on Ci­ties and Clothes (1989) (NR) Sun. 11:45 a.m. Tue. 5:40 p.m. Thurs. 1:10 p.m.

Tokyo-Ga (1985) (NR) Sat. 12 p.m. Mon. 5:40 p.m. Tue. 1:10 p.m. Thurs. 5:40 p.m.

Wings of De­sire (1987) (PG-13) Fri. 1:20 p.m. Sat. 4:35 p.m. Sun. 5 p.m. Mon. 3:10 p.m. Wed. 7 p.m. Thurs. 7:30 p.m.

VI­O­LET CROWN CIN­EMA SANTA FE 1606 Al­caldesa St., 505-216-5678, www.santafe.vi­o­letcrowncin­e­mas.com

Beasts of No Na­tion Fri. to Thurs. 12:15 p.m. Bridge of Spies (PG-13) Fri. to Thurs. 11:35 a.m., 2:35 p.m., 3:25 p.m., 5:30 p.m., 6:20 p.m., 8:30 p.m., 9:15 p.m.

Crim­son Peak (R) Fri. to Thurs. 11:20 a.m., 1:50 p.m., 4:20 p.m., 6:50 p.m., 9:20 p.m.

Goosebumps 3D (PG) Fri. to Thurs. 10:50 a.m., 1 p.m. Goosebumps (PG) Fri. to Thurs. 2:45 p.m., 5:05 p.m., 7:20 p.m., 9:45 p.m.

Ho­tel Tran­syl­va­nia 2 (PG) Fri. to Thurs. 11:45 a.m., 1:45 p.m., 3:45 p.m., 5:45 p.m., 7:45 p.m.

The Mar­tian 3D (PG-13) Fri. to Thurs. 3:10 p.m., 6 p.m., 9 p.m.

The Mar­tian (PG-13) Fri. to Thurs. 11:25 a.m., 7 p.m., 9:35 p.m. Pan (PG) Fri. to Thurs. 12:20 p.m., 2:15 p.m., 4:40 p.m.

Si­cario (R) Fri. to Thurs. 11:50 a.m., 2:25 p.m., 5 p.m., 6:10 p.m., 10 p.m.

Steve Jobs (R) Fri. to Thurs. 10:50 a.m., 12:50 p.m., 1:25 p.m., 3 p.m., 4 p.m., 5:35 p.m., 6:35 p.m., 7:30 p.m., 8:15 p.m., 9:15 p.m., 10 p.m.

Vic­to­ria Fri. to Thurs. 12:30 p.m., 3:20 p.m., 8:45 p.m.

MITCHELL DREAMCATCHER CIN­EMA (ES­PAÑOLA)

15 N.M. 106 (in­ter­sec­tion with U.S. 84/285), 505-753-0087, www.dream­catcher10.com

Crim­son Peak (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m.

Ever­est (PG-13) Fri. 4:40 p.m., 7:20 p.m., 10:05 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:20 p.m., 10:05 p.m. Sun. 1:55 p.m., 4:40 p.m., 7:20 p.m. Mon. to Thurs. 4:40 p.m., 7:20 p.m.

Goosebumps (PG) Fri. 4:30 p.m., 7 p.m., 9:40 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:40 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

Ho­tel Tran­syl­va­nia 2 (PG) Fri. 4:45 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:05 p.m. Mon. to Thurs. 4:45 p.m., 7:05 p.m.

Jem and the Holo­grams (PG) Fri. 4:25 p.m., 7:15 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:15 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:15 p.m. Mon. to Thurs. 4:25 p.m., 7:15 p.m.

The Last Witch Hunter (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m.

The Mar­tian (PG-13) Fri. and Sat. 4:15 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs. 4:15 p.m., 7:10 p.m.

The Per­fect Guy (PG-13) Fri. 4:35 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:35 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:35 p.m., 7:35 p.m. Mon. to Thurs. 4:35 p.m., 7:35 p.m.

Rock the Kas­bah (R) Fri. 5 p.m., 7:40 p.m., 10:10 p.m. Sat. 2:25 p.m., 5 p.m., 7:40 p.m., 10:10 p.m. Sun. 2:25 p.m., 5 p.m., 7:40 p.m. Mon. to Thurs. 5 p.m., 7:40 p.m.

Si­cario (R) Fri. 4:50 p.m., 7:25 p.m., 10 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 10 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m.

Alice in the Ci­ties (1974)

Tokyo-Ga (1985)

Kings of the Road (1976)

Wings of De­sire (1987)

The State of Things (1982)

Buena Vista So­cial Club (1999)

The Goalie’s Anx­i­ety at the Penalty Kick (1972)

Paris, Texas (1984)

The Amer­i­can Friend (1977)

Note­book on Ci­ties and Clothes (1989)

Jem and the Holo­grams, at Re­gal DeVar­gas, Re­gal Sta­dium 14, and DreamCatcher in Es­pañola

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