The sequel to Wim Wenders’ Wings of Desire, this one follows the adventures of angel Otto Sander (Cassiel from the first film), who becomes mortal like his fallen pal Bruno Ganz. Unlike Ganz, who became mortal after falling in love with trapeze artist Marion, Sander becomes human because he feels he can help humanity. He gets into a bit of trouble at first, thanks to the help of Emit Flesti, an angel supervisor who gets Sander thrown in jail on his first day as a human. Ganz and Dommartin come to the rescue and help Sander adjust to the human world. After Sander gets himself established in society, he starts helping out the people he once observed as an angel. His main task is to help a gangster go straight. This is not such an easy thing, since Buchholz seems like an unredeemable asshole. Though not the perfect Wim Wenders’ movie, it certainly has a good cast, who do their very best. Peter Falk returns as the slightly eccentric actor, who helped out Ganz in the first movie, and who now helps Sander out this time. Sander is perfectly cast in a Stranger-in-a-Strange-Land type of character. The story is a bit lightweight, and much zanier than the first film, but with such an appealing cast, there are plenty of fine moments. —Efilmcritic.com
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
" Let me explain a couple of things. Time is short. That's the first thing. For the weasel, Time is a weasel. For the hero, Time is heroic. For the whore, Time is just another trick. If you're gentle, your Time is gentle. If you're in a hurry, Time flies. Time is a servant, if you are its master. Time is your god, if you are its dog. We are the creators of Time, the victims of Time, and the killers of Time. Time is timeless. That's the second thing. You are the clock, Cassiel. "
Cluttered and unwieldy, but still wildly ambitious. Though faint traces of the poetic contemplation of the earlier film exist, they are buried beneath the b-movie subplot and the moments of genuine farce. This may be deliberate of course. If Wings of Desire was at some level about the hope of reunification and the link to Germany's past, then this follow-up film asks the question: "how do we strive to do good and to benefit from this situation now that the dream has become reality?"