Howard Spence has seen better days. Once he played Western heroes, now there are only supporting parts left for him. He leads an utterly selfish life, drowning the disgust for himself with alcohol, drugs and young women. Until one day he learns from his mother that he might have a child somewhere. The very idea seems like a ray of hope that his life wasn’t all in vain. So Howard sets out to search for that son, or daughter, whoever it is. He finds Doreen, a woman he once loved, and Earl, a young singer who doesn’t need a father anymore. But to complicate things, there’s also Sky, who might be his daughter of another short liaison, and Sutter, a bounty hunter determined to take Howard back to the movie set that he abandoned. —IMDb
Born in Dusseldorf just after the end of World War II, German film director Wim Wenders grew up with an insatiable appetite for American movies. Not all that interested in big-budget products, he, instead, developed a fascination with B-movies, notably melodramas and Westerns. After studying Medicine and Philosophy in his native country, Wenders took up art in Paris (a mecca for viewing American films), and then returned to his homeland to attend Munich’s Academy of Film and Television. Like many of his French movie-fan brethren, Wenders began his career writing film criticism before directing a few short subjects of his own, and, in 1970, he and several other young filmmakers formed a production-distribution firm, Filmverlag Der Autoren. Summer in the City (1970) was Wenders’ first feature film, but it was his 1973 adaptation of Nathaniel Hawthorne’s The Scarlet Letter that first brought him attention outside of Germany. The film included many accomplishments, most notably coaxing… read more
The miniature Edward Hopper-like portraits of loneliness and disappointment that Wenders frames so beautifully elevates the film above the sometimes overcooked melodrama of Shepard's script. The images find a splendour and a subtlety too often lacking in the direct expression of those words, capturing the sense of futility, of regret. The journey of the film, as ever with Wenders, becomes the final exhalation of life from a dead star, and his dying world.