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Kritiker-Rezensionen
Im Lauf der Zeit
Wim Wenders Bundesrepublik Deutschland, 1976
Even more than Wrong Move, however, Kings of the Road is held together only by the husks of storytelling ideas, with the ballooned running time doing little to conceal this void.
June 13, 2016
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The Road Trilogy was made by a young filmmaker extending his reach, his resources, achieving early maturity and mastery. It’s extremely rare to find movies this open-ended and assured, lucid and lyrical, tender and truthful, anchored in the here and now yet timeless. They are brimming with a sense of shared adventure.
June 04, 2016
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Mr. Vogler plays an itinerant mechanic, traveling from town to town repairing movie projectors — a conceit that allows the film to mourn the end of movies as a mass medium while dramatizing one character’s assertion that “the Yanks colonized our subconscious.” It is Mr. Wenders’s definitive statement and arguably his masterpiece.
June 03, 2016
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One of the key European films of the 1970s, a high-water mark of the New German Cinema and, to my mind, the purest piece of cinema that Wim Wenders has ever produced. It is a gloriously lyrical, ramshackle reflection on life, cinema (and cinemas), male identity, women, postwar alienation, children, and rock and roll, all wrapped up in a road movie that, if we are to believe Wenders, cast and crew made up as they went along, once the initial premise had been established.
June 02, 2016
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Highlights include Bruno’s dalliance with a woman (Kreuzer again) who runs the ticket booth at one theater, as well as a repair job at a school that somehow turns into a slapstick shadow performance when a light mistakenly gets switched on. But Kings Of The Road loses its way when it delves into its characters’ personal histories.
May 28, 2016
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A gorgeously shot, free-flowing story of men without women, of a country staving off terrible memories, of cowboys riding off into what even back then seemed like cinema’s sunset, this mischievous meditation one loneliness fulfilled Wenders’s mandate to produce “emotion pictures” at a level that would be equaled only by Paris, Texas (84).
May 03, 2016
Rock music and Hollywood movies fill Bruno’s days and nights, and Wenders fills the movie with cinephilic quotations and references. Robert, a literary man, arrives like a character from “Pierrot le Fou” and acts like a character from “L’Avventura,” but he forms a duo with the easy-riding Bruno that seems closer to Laurel and Hardy. Bewilderment in a wasteland has rarely been filmed with such tender irony and sentimental optimism.
March 02, 2015
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The quintessential Wim Wenders movie—an epic fusion of cinephilia, chic existentialism, hanging out, observations about the Americanization of Europe, boredom, and bad-ass rock and roll. It is a road movie without a destination—another Wenders specialty—but one with deep feeling for transience.
May 13, 2011
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Wenders was barely thirty when he made Kings, his fifth feature in fewer than five years. He was still relatively anonymous and bursting with a youthful energy despite the extremely articulate, well, weltschmerz he was capable of capturing on film. The observations of the film are completely plugged in, immediate.
July 20, 2010
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…or, King of the Road Movies… The plot, such as it is, about two men meeting up, moving around Germany, and then splitting up again, is a loose framework for an investigation in various subjects that is marked by its emotional honesty, stunning visual organisation, lack of contrivance, and use of music. Marvellous.
January 01, 1990
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It’s full of references to Hawks, Ford, and Lang, and one scene has been lovingly lifted in its entirety from Nicholas Ray’s The Lusty Men. As the hommages indicate, one of the subjects is the death of cinema, but this isn’t an insider’s movie. Wenders examines a played-out culture looking for one last move. An engrossing, enveloping film, made with great craft and photographed in highly textured black-and-white by Robby Müller.
February 01, 1977
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