HOME
The Info List - Wings Of Desire



--- Advertisement ---


(i) (i) (i) (i) (i)

WINGS OF DESIRE (German : DER HIMMEL üBER BERLIN, lit. 'The Heavens Over Berlin') is a 1987 romantic fantasy film directed by Wim Wenders . The film is about invisible, immortal angels who populate Berlin
Berlin
and listen to the thoughts of its human inhabitants, comforting those who are in distress. Even though the city is densely populated, many of the people are isolated or estranged from their loved ones. One of the angels, played by Bruno Ganz , falls in love with a beautiful, lonely trapeze artist, played by Solveig Dommartin . The angel chooses to become mortal so that he can experience human sensory pleasures, ranging from enjoying food to touching a loved one, and so that he can discover human love with the trapeze artist.

Inspired by art depicting angels visible around West Berlin
West Berlin
, at the time enclaved by the Berlin Wall
Berlin Wall
, Wenders and author Peter Handke conceived of the story and continued to develop the screenplay throughout the French and German co-production. The film was shot by Henri Alekan
Henri Alekan
in both a rich, sepia-toned black-and-white and colour, with the former being used to represent the world as seen by the angels. The cast includes Otto Sander , Curt Bois and Peter Falk
Peter Falk
.

For Wings of Desire, Wenders won awards for Best Director at both the Cannes Film Festival and European Film Awards . The film was a critical and financial success, and academics have interpreted it as a statement of the importance of cinema, libraries, the circus, or German unity , containing New Age , religious, secular or other themes.

It was followed by a sequel, Faraway, So Close!
Faraway, So Close!
, released in 1993. City of Angels , a U.S. remake, was released in 1998. Wings of Desire has often been regarded as one of the major films of the 1980s .

CONTENTS

* 1 Plot

* 2 Production

* 2.1 Development * 2.2 Casting * 2.3 Filming * 2.4 Post-production

* 3 Themes and interpretations * 4 Style * 5 Release

* 6 Reception

* 6.1 Box office * 6.2 Critical reception * 6.3 Accolades

* 7 Legacy * 8 See also

* 9 References

* 9.1 Bibliography

* 10 External links

PLOT

In a Berlin
Berlin
divided by the Berlin Wall
Berlin Wall
, two angels , Damiel and Cassiel, watch the city, unseen and unheard by its human inhabitants. They observe and listen to the thoughts of Berliners, including a pregnant woman in an ambulance on the way to the hospital, a young prostitute standing by a busy road, and a broken man who feels betrayed by his wife. Their raison d'être is, as Cassiel says, to "assemble, testify, preserve" reality. Damiel and Cassiel have always existed as angels; they were in Berlin
Berlin
before it was a city, and before there were any humans.

Among the Berliners they encounter in their wanderings is an old man named Homer, who, unlike the Greek poet Homer
Homer
, dreams of an "epic of peace". Cassiel follows the old man as he looks for the then-demolished Potsdamer Platz
Potsdamer Platz
in an open field, and finds only the graffiti -covered Wall. Although Damiel and Cassiel are pure observers, visible only to children, and incapable of any interaction with the physical world, Damiel begins to fall in love with a profoundly lonely circus trapeze artist named Marion. She lives by herself in a caravan in West Berlin
West Berlin
, until she receives the news that her group, the Circus Alekan, will be closing down. Depressed, she dances alone to the music of Crime "> The graffiti on the Berlin Wall is depicted in the film.

Meanwhile, actor Peter Falk
Peter Falk
arrives in West Berlin
West Berlin
to make a film about the city's Nazi past. Falk was once an angel, who, having grown tired of always observing and never experiencing, renounced his immortality to become a participant in the world. Also growing weary of infinity, Damiel's longing is in the opposite direction, for the genuineness and limits of human existence. He meets Marion in a dream, and is surprised when Falk senses his presence and tells him about the pleasures of human life.

Damiel is finally persuaded to shed his immortality. He experiences life for the first time: he bleeds, sees colours, tastes food and drinks coffee. Meanwhile, Cassiel taps into the mind of a young man just about to commit suicide by jumping off a building. Cassiel tries to save the young man but is unable to do so, and is left tormented by the experience. Sensing Cassiel's presence, Falk reaches out to him as he had Damiel, but Cassiel is unwilling to follow their example. Eventually, Damiel meets the trapeze artist Marion at a bar during a concert by Nick Cave and the Bad Seeds , and they greet each other with familiarity as if they had long known each other. The next day, Damiel considers how his time with Marion taught him to feel amazed, and how he has gained knowledge no angel is capable of achieving.

PRODUCTION

DEVELOPMENT

Berlin
Berlin
art depicting angels served as an inspiration to the filmmakers.

After living and working in the United States for eight years, director Wim Wenders returned to his native West Germany and wished to reconnect to it with a film about his favourite part of it, West Berlin
Berlin
. Planning to make Until the End of the World in 1985, he realised that project would not be ready for two years, and wishing to return to photography as soon as possible, he considered another project.

Rainer Maria Rilke 's poetry partially inspired the story. Wenders claimed angels seemed to dwell in Rilke's poetry, and the director had also jotted "angels" in his notes one day, and noted angel-themed artwork in cemeteries and around Berlin. In his treatment , Wenders also considered a backstory in which God exiled his angels to Berlin as punishment for defending humans after 1945, when God had decided to forsake them.

Wenders employed Peter Handke , who wrote much of the dialogue, the poetic narrations, and the film's recurring poem "Song of Childhood". Wenders found the names Damiel and Cassiel in an encyclopedia about angels, and also had photographs of Solveig Dommartin , Bruno Ganz and Otto Sander that served as muses. The idea that angels could read minds led to Wenders considering personal dialogue no one would say aloud. Wenders did not view the angel protagonist as representative of himself, instead deciding the angel could be an embodiment of film, and that the purpose of film could be to help people by opening their eyes to possibilities. Handke did not feel able to write a single coherent story, but promised to regularly send notes on ideas during production. Screenwriter Richard Reitinger also assisted Wenders in scripting scenes around Handke's contributions.

Given the nature of this arrangement, Wenders would hold daily meetings with his crew, frequently at late hours, to plan the logistics for the following day. French producer Anatole Dauman did not see a large budget as necessary, and the project was funded with 5 million DM .

CASTING

ACTOR

ROLE

Bruno Ganz ... Damiel

Solveig Dommartin ... Marion

Otto Sander ... Cassiel

Curt Bois ... Homer, the aged poet

Didier Flamand ... The Angel

Peter Falk
Peter Falk
... himself (credited as "Der Filmstar")

Nick Cave and the Bad Seeds ... themselves

Crime max-width:204px"> Berlin
Berlin
State Library and other spots around West Berlin
West Berlin
were filming locations.

The film was shot by the cinematographer Henri Alekan
Henri Alekan
, who had worked on Jean Cocteau 's La Belle et la Bête (1946). The cinematography represents the angels' point of view in monochrome, as they cannot see colours, and switches to colour to show the human point of view. During filming, Alekan used a very old and fragile silk stocking that had belonged to his grandmother as a filter for the monochromatic sequences, adding a touch of sepia to the black and white . The shift from monochrome to colour, to distinguish the angels' reality from that of the mortals, was used earlier in Powell and Pressburger 's A Matter of Life and Death . Wenders felt it was natural that angels without experience of the physical would not see colour, and also thought Berlin
Berlin
photographed well in black and white.

A challenge in the cinematography was posed by using the camera for the perception of angels, as angels are not restrained in how far they can observe, in any dimension. The story's Circus Alekan is named in the cinematographer's honour.

Filming took place at actual locations in West Berlin
West Berlin
, such as Hans Scharoun 's Berlin
Berlin
State Library , though the Wall was recreated in studio, due to shooting the true Wall being outlawed. Some pieces of the recreation were made from inexpensive wood, with one being destroyed by rain during production.

With little idea of how to portray the angels and no costume design, Wenders said the filmmakers consulted artwork, experimented, and found the idea of armor during production, and told U.S. filmmaker Brad Silberling they did not decide on overcoats until later. The hairstyle was loosely inspired by a photograph of a Japanese warrior.

Although the circus scenes required extensive and risky acrobatics, Dommartin was able to learn the trapeze and rope moves in only eight weeks, and did all the work herself, without a stunt double. During production, the filmmakers called German police after Falk went missing. Falk had been spending hours exploring West Berlin
West Berlin
and was discovered in a café.

POST-PRODUCTION

Peter Handke arrived in West Berlin
West Berlin
during the editing process, led by Peter Przygodda . Handke believed it bordered on a silent film , aside from some music, and lacked much of the notes he had sent to Wenders during filming. Handke thus proposed adding his writings via voice-over . After Falk left Berlin, he recorded much of his voice-over in a sound studio in Los Angeles
Los Angeles
. Much of this was improvised, though Wenders still supervised by telephone.

With the filming performed in lengthy takes , and the camera used as "the eye of the angel", much of the movement was conveyed in the camerawork rather than in editing effects. There was five hours of footage to edit down to the final cut. A pie fight between the stars was filmed for the final scene, but later edited out.

Composer Jürgen Knieper assumed harps and violins would suffice for a score for a film about angels, until he saw a cut of the film. Seeing the angels were discontent, he wrote a different score employing a choir, voices and whistling. Laurent Petitgand contributed the circus music, an ensemble work performed with accordions, saxophones and keyboards.

THEMES AND INTERPRETATIONS

The story contains similarities to the fallen angel concept, though unrelated to evil.

The concept of angels, spirits or ghosts who help humans on Earth had been common in cinema, from Here Comes Mr. Jordan (1941) and the 1946 works It\'s a Wonderful Life and A Matter of Life and Death . Many earlier U.S. and U.K. films demonstrate high amounts of reverence, while others allow reasonable amounts of fun. A Matter of Life and Death presents an early example of spirits being jealous of the lives of humans. While Wings of Desire
Wings of Desire
does not portray Berliners as living in a utopia, academic Roger Cook wrote that the fact that people have pleasure "gives, as the English title suggests, wings to desire".

God is not mentioned in the film, and is only referred to in the sequel Faraway, So Close!
Faraway, So Close!
when the angels state a purpose to connect humans with "Him". Scholars Robert Phillip Kolker and Peter Beickene attributed the apparent lack of God to New Age beliefs, remarking Damiel's "fall " is similar to the story of Lucifer , though not related to evil. Reviewer Jeffrey Overstreet concurred that "Wenders had left his church upbringing behind", and the cinematic angels are "inventions he could craft to his specifications", with little regard for biblical beliefs. Overstreet characterized them as "whimsical metaphors, characters who have lost the joy of sensual human experience". Nevertheless, Professor Craig Detweiler believed the sky-level view of Berlin
Berlin
and the idea of guardian angels evoke God. Authors Martin Brady and Joanne Leal added that even if Damiel is tempted by seemingly profane things, the atmosphere of Berlin
Berlin
means the human Damiel is still in "a place of poetry, myth and religion".

In one scene, Damiel and Cassiel meet to share stories in their observations, with their function revealed to be one of preserving the past. Professor Alexander Graf wrote this connects them to cinema, with Wenders noting Wings of Desire
Wings of Desire
itself depicts or shows places in Berlin
Berlin
that have since been destroyed or altered, including a bridge, Potsdamer Platz
Potsdamer Platz
and the Wall .

The closing titles state: "Dedicated to all the former angels, but especially to Yasujiro, François and Andrej." This is a reference to Wenders' fellow filmmakers Yasujirō Ozu
Yasujirō Ozu
, François Truffaut
François Truffaut
, and Andrei Tarkovsky . These directors had all died before the release of the film, with Kolker and Beickene arguing they were an influence on Wenders: Ozu had taught Wenders order; Truffaut the observation of people, especially youth; and Tarkovsky, a less clear influence on Wenders, consideration of morality and beauty. Identifying directors as angels could tie in with the film characters' function to record. Yasujirō Ozu
Yasujirō Ozu
, one of the film dedication's "angels".

Academic Laura Marcus believed a connection between cinema and print is also established in the angels' affinity for libraries, as Wenders portrays the library as a tool of "memory, and public space", making it a miraculous place. The depiction of Damiel, by using a pen or an immaterial pen, to write "Song of Childhood", is also tribute to print and literacy, introducing, or as Marcus hypothesized, "perhaps even releasing, the visual images that follow". Kolker and Beickene interpreted the use of poetry as part of screenwriter Peter Handke 's efforts to elevate language above common rhetoric to the spiritual. Reviewing the poetry, Detweiler remarked that Handke's "Song of Childhood" bears parallels to St. Paul 's 1 Corinthians 13 ("When I was a child, I spoke as a child, I understood as a child, I thought as a child ... "). Professor Terrie Waddell added the poem established "centrality of childhood" as a key theme, noting the children can see angels and accept them without question, tying them in with the phenomenon of imaginary friends .

The film has also been read as a call for German reunification
German reunification
, which followed in 1990. Essayists David Caldwell and Paul Rea saw it as presenting a series of two opposites: East and West, angel and human, male and female. Wenders' angels are not bound by the Wall, reflecting East and West Berlin's shared space, though East Berlin remains primarily black and white. Scholar Martin Jesinghausen believed the film presumed reunification would never happen, and contemplated its statements on divides, including territorial and "higher" divides, "physicality and spirituality, art and reality, black and white and colour".

Researcher Helen Stoddart, in discussing the depiction of the circus and trapeze artist Marion in particular, submitted Marion is the classic circus character, creating an image of danger and then potential. Stoddart argued that Homer
Homer
and Marion may find the future in what remains of history found in Berlin. Stoddart considered the circular nature of the story, including the parallel between Damiel and Marion as angel who cannot see the physical, and faux angel who can "see the faces". Marion also observes that all directions lead to the Wall, and the final French dialogue "We have embarked" while the screen states " To be continued ", suggests "final movement to a new beginning".

STYLE

Rainer Maria Rilke 's poetry influenced the concept and style.

British Film Institute writer Leigh Singer assessed the cinematic style as "bold" and artistic in its use of colour, "existential voiceover" and "languorous pacing". Singer also commented on the use of symbolism and the combinations of diverse pieces of culture, from the poetry of Rainer Maria Rilke to the music of Nick Cave . In Singer's estimation, the cinematography is able to communicate the angels' "invisible intimacy and empathy". Professor Terrie Waddell described the "dialogue and monologue" as "lyrical", in the mold of Rilke's poetry. Scholar Alexander Graf considered how these voice-overs and verbal exchanges are frequently combined with background radio and television sounds, and concluded the "image and soundtrack" that comprise the style convey a point of "blindness": "men and women are plagued by their everyday problems; children are, like the angels, in their own dreamy world".

Professor Russell J.A. Kilbourn judged the style as opposed to realism and "emphatically German" in looking at particular situations of human life. Authors Martin Brady and Joanne Leal remarked the storytelling shies away from an entirely narrative format, and the film's writing style is embodied in the Homer
Homer
character as "the angel of story-telling". Perception of people becomes key to the storytelling, with Brady and Leal quoting Handke's vision for a new narrative: "You have only interpreted and changed the world; what matters is to describe it". Psychologist Ryan Niemiec wrote that, by focusing on "the beauty of each moment", Wings of Desire
Wings of Desire
conveys "awe and wonder".

As Singer observed, Wings of Desire
Wings of Desire
serves as a "Symphony of a city" in capturing a "wintry, pre-unification Berlin". Kilbourn said that the place highlighted in the German title Der Himmel über Berlin, like the desire referenced in the English title, is of great importance, and that the "frequent angel's-eye-view shots of East and West Berlin" allows for "quasi-objective voyeuristic surveillance". Observing the angels' trench-coat fashion, sociologist Andrew Greeley wrote it fit the "wet, blustery, cold northern Germany" setting. Looking at the coats and ponytails, Dr. Detweiler found the visualization of the angels "so cool and stylish".

Music is used in differing ways throughout the story. Musicologist Annette Davison argued Knieper's score in angel scenes is artistic, with elements of Eastern European and Orthodox Christian music, and Petitgand's music displays a "slippery" harmony frequently heard in circus entertainment. When Marion leaves the Circus Alekan, there is an increase in rock music , particularly by Cave and Crime "> Wim Wenders attended the 2015 Berlin
Berlin
International Film Festival .

The film debuted at the Cannes Film Festival on 17 May 1987. Der Himmel über Berlin
Berlin
subsequently opened in West Germany late in October 1987. With Orion Classics as its U.S. distributor, it opened in New York City
New York City
as Wings of Desire
Wings of Desire
on 29 April 1988 with a PG-13 rating . Sander said that it had a release in Japan, and that while angels do not appear in Japanese mythology , Tokyo audiences would approach him after and share their impressions about the characters.

After a videotape printing in Germany in 1988, Kinowelt released a DVD
DVD
in Germany and Region 2 in 2005. In 2009, The Criterion Collection released the film in Region 1 on DVD
DVD
and Blu-ray
Blu-ray
. It later screened at the 65th Berlin
Berlin
International Film Festival in February 2015, to mark Wenders' Honorary Golden Bear .

RECEPTION

BOX OFFICE

Der Himmel über Berlin
Berlin
had 922,718 admissions in Germany. Under the title Les Ailes du désir, it had a further 1,079,432 admissions in France.

The film finished its run in North America on 11 May 1989, having grossed $3.2 million, or possibly nearly $4 million, a beneficial investment for Orion. Critic James Monaco assessed the financial performance as above that of typical art films. In 2000, Variety calculated that it was 48th in the top 50 highest-grossing foreign language films ever released in the U.S., and one of only three in German , along with Das Boot and Run Lola Run .

CRITICAL RECEPTION

Wings of Desire
Wings of Desire
received "Two Thumbs Up" from Gene Siskel and Roger Ebert on Siskel & Ebert ">'s Rita Kempley credited Wenders and Handke for crafting a "whimsical realm of myth and philosophical pretense, dense with imagery and sweetened by Ganz's performance". Dissenting, Pauline Kael remarked, "It's enough to make moviegoers feel impotent". According to online film resource They Shoot Pictures, Don't They?, Wings of Desire
Wings of Desire
is the most acclaimed film of 1987. Bruno Ganz received positive reviews for his performance as Damiel; it was possibly his most remembered role before 2004.

By 1990, Wings of Desire
Wings of Desire
was placed in the top 10 best films of the 1980s by critics David Denby (first), The Los Angeles
Los Angeles
Times 's Sheila Benson (fourth), The Orange County Register 's Jim Emerson (fifth) and Richard Schickel and Richard Corliss (tenth). Premiere voted it the second greatest film of the 1980s, after Raging Bull . James Monaco awarded it four and a half stars in his 1992 Movie Guide, praising it as "A rich, mystical near-masterpiece". In 1998, Ebert added it to his Great Movies list, championing it for a "a mood of reverie, elegy and meditation". Empire critic Ian Nathan gave it five stars in his 2006 review, hailing it for its poetry, themes of loneliness, and Ganz's acting style. In 2004, The New York Times
The New York Times
included the film on its list of "the Best 1,000 Movies Ever Made". On reflecting on Solveig Dommartin's death in 2007, Der Spiegel recalled the film as a poetic masterpiece. Reviewing the Criterion DVD
DVD
in 2009, Time Out critic Joshua Rothkopf called it an introduction to the art film , but also a product of its time, mentioning the songs.

It was later ranked 64th in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. In 2011, The Guardian
The Guardian
placed it in the 10 best films ever set in Berlin. Les Inrockuptibles 's 2014 review declared it a great film, timeless, and poetic. That year, French critics at aVoir-aLire also praised its poetry, and said Berlin
Berlin
becomes one of the characters, crediting Alekan, Handke, Cave and Knieper for important contributions. German journalist Michael Sontheimer recommended seeing it to understand how radically Berlin
Berlin
has been altered since the 1980s, particularly looking at the somber images when the human Damiel walks through Berlin. In his 2015 Movie Guide, Leonard Maltin awarded it three and a half stars, describing it as "Haunting" and "lyrical". Jonathan Rosenbaum declared the bulk of the film before Damiel becomes human as "one of Wenders's most stunning achievements". In 2017, Le Monde
Le Monde
rated it four stars out of five, citing the aesthetics of its black-and-white photography, poetry and contemplation of history. The German news publication Der Tagesspiegel recounted the film's memorable imagery in 2016, listing Damiel as an angel and the library scenes. On the 30th anniversary of the Cannes screening, Jessica Ritchey posted on Rogerebert.com that she found it odd to be an atheist and love the film, expressing admiration for the black-and-white photography and the overall message that when the world seems terrible, desire is powerful. The review aggregator Rotten Tomatoes
Rotten Tomatoes
records that 98% of its cited critics gave the film a positive review.

ACCOLADES

The film competed for the Palme d\'Or and won for Best Director at the 1987 Cannes Film Festival . In 1988, it won the prestigious Grand Prix of the Belgian Film Critics Association .

It was submitted by West Germany for consideration for the Academy Award for Best Foreign Language Film , a bid supported by its distribution company. It was not nominated, with the Academy traditionally not recognizing West German cinema.

AWARD DATE OF CEREMONY CATEGORY RECIPIENT(S) RESULT REF(S)

Belgian Film Critics Association 1988 Grand Prix Wim Wenders Won

British Academy Film Awards
British Academy Film Awards
19 March 1989 Best Film Not in the English Language Wim Wenders and Anatole Dauman Nominated

Cannes Film Festival 7 – 19 May 1987 Best Director Wim Wenders Won

César Awards 12 March 1988 Best Foreign Film Nominated

European Film Awards 1988 Best Film Wim Wenders and Anatole Dauman Nominated

Best Director Wim Wenders Won

Best Supporting Actor Curt Bois Won

Best Camera Henri Alekan
Henri Alekan
Nominated

French Syndicate of Cinema Critics 1988 Best Foreign Film Wim Wenders Won

German Film Awards 1988 Best Feature Film Won

Best Cinematography Henri Alekan Won

Independent Spirit Awards 25 March 1989 Best Foreign Film Wim Wenders Won

Los Angeles
Los Angeles
Film Critics Association 10 December 1988 Best Foreign Language Film Won

Best Cinematography Henri Alekan Won

National Society of Film Critics 8 January 1989 Best Director Wim Wenders 3rd place

Best Cinematography Henri Alekan Won

New York Film Critics Circle 15 January 1989 Best Cinematography Won

LEGACY

Prague
Prague
's Angel
Angel
by Jean Nouvel .

In 1993, Wenders made a sequel, Faraway, So Close!
Faraway, So Close!
, which he found desirable to explore Berlin
Berlin
post-reunification , more so than for the sake of a sequel. In 1998, a U.S. remake directed by Brad Silberling called City of Angels was released. The setting was moved to Los Angeles and Meg Ryan and Nicolas Cage starred. In 1990, an Indian film in Malayalam , titled Njan Gandharvan was made by P Padmarajan , with a similar thread. In Prague
Prague
, Czech Republic, Jean Nouvel designed Angel, a building that features an angel from the film observing the people of the Smíchov district.

A stage adaptation of Wings of Desire
Wings of Desire
was created by the Northern Stage theatre company in Newcastle upon Tyne , U.K. in 2003. This particular adaptation, which used film footage of the city and stories from the community, was adapted and directed by Alan Lyddiard. In 2006, the American Repertory Theater in Cambridge, Massachusetts
Cambridge, Massachusetts
, and Toneelgroep Amsterdam presented another stage adaptation, created by Gideon Lester and Dirkje Houtman and directed by Ola Mafaalani .

Wenders' story was also an influence on the play Angels in America by Tony Kushner , in which angels intermingle with troubled mortals. R.E.M. 's music video for " Everybody Hurts " also takes cues from the film. Wings of Desire
Wings of Desire
was possibly Ganz's most remembered role before Downfall in 2004.

SEE ALSO

* List of submissions to the 60th Academy Awards for Best Foreign Language Film * List of German submissions for the Academy Award for Best Foreign Language Film

REFERENCES

* ^ A B C D "Der Himmel über Berlin". Lexikon des internationalen Films. Retrieved 5 July 2017. * ^ "WINGS OF DESIRE". British Board of Film Classification . Retrieved 13 August 2017. * ^ A B Lüdi & Lüdi 2000 , p. 60. * ^ A B "Wings of Desire". Box Office Mojo
Box Office Mojo
. Retrieved 5 July 2017.

* ^ A B C D E Kenny, J.M.; Wenders, Wim (2009). The Angels Among Us (Blu-ray). The Criterion Collection . * ^ Cook 1997 , p. 164. * ^ A B C D Wenders, Wim (9 November 2009). "On Wings of Desire". The Criterion Collection . Retrieved 5 July 2017. * ^ A B C Cook 1997 , p. 165. * ^ A B C Detweiler 2017 . * ^ Müller, Andre (19 October 1987). "Das Kino könnte der Engel sein". Der Spiegel . Retrieved 12 September 2017. * ^ A B Kenny, J.M.; Handke, Peter (2009). The Angels Among Us (Blu-ray). The Criterion Collection . * ^ A B C Wenders 1997 , p. 67. * ^ Lerner, Dietlind (30 January 1994). "Wenders takes wing". Variety . Retrieved 13 August 2017. * ^ Billingham 2013 , p. 13. * ^ Fitzpatrick Wenders, Wim; Sander, Otto (2009). The Angels Among Us (Blu-ray). The Criterion Collection . * ^ Huda 2004 , p. 249. * ^ A B C D Feaster, Felicia. "WINGS OF DESIRE". Turner Classic Movies . Retrieved 5 July 2017. * ^ Danks 2016 , pp. 113-114. * ^ A B Kilbourn 2013 , p. 237. * ^ Hurbis-Cherrier 2012 , p. 277. * ^ A B C D E Singer, Leigh (14 September 2016). "Five visual themes in Wings of Desire
Wings of Desire
– Wim Wenders’ immortal film about watching". British Film Institute . Retrieved 5 July 2017. * ^ Batchelor 2000 , p. 37. * ^ Cook 1997 , pp. 167-168. * ^ A B C Pulver, Andrew (17 August 2011). "10 of the best films set in Berlin". The Guardian
The Guardian
. Retrieved 5 July 2017. * ^ Kenny, J.M.; Wenders, Wim; Silberling, Brad (2009). The Angels Among Us (Blu-ray). The Criterion Collection . * ^ Jakubowski, Maxim (6 February 2007). "Solveig Dommartin, Wenders\' fearless angel". The Guardian
The Guardian
. London. Retrieved 3 April 2014. * ^ "Fotostrecke: Die vielen Optionen des Peter Falk". Der Spiegel . 11 April 2014. Retrieved 12 September 2017. * ^ Klosterman 2009 , p. 37. * ^ Kenny, J.M.; Wenders, Wim; Knieper, Jürgen (2009). The Angels Among Us (Blu-ray). The Criterion Collection . * ^ A B C Davison 2017 . * ^ A B Kolker & Beicken 1993 , p. 141. * ^ Graf 2002 , p. 115. * ^ Hasenberg 1997 , p. 54. * ^ Kolker & Beicken 1993 , p. 148. * ^ Overstreet 2007 , p. 122. * ^ Detweiler 2009 , p. 124. * ^ A B Brady & Leal 2011 , p. 263. * ^ Graf 2002 , p. 116. * ^ Graf 2002 , pp. 117-118. * ^ Scheibel 2017 , p. 167. * ^ Kolker & Beicken 1993 , p. 138. * ^ Kolker & Beicken 1993 , p. 140. * ^ Graf 2002 , p. 118. * ^ Marcus 2015 , pp. 205-206. * ^ Marcus 2015 , p. 206. * ^ Kolker & Beicken 1993 , p. 147. * ^ A B C Waddell 2015 . * ^ Graf 2002 , p. 114. * ^ Byg 2014 , p. 28. * ^ Jesinghausen 2000 , p. 80. * ^ Stoddart 2000 , p. 188. * ^ Stoddart 2000 , p. 178. * ^ Stoddart 2000 , pp. 179-180. * ^ Graf 2002 , p. 119. * ^ Kilbourn 2013 , p. 83. * ^ Brady & Leal 2011 , p. 264. * ^ Niemiec 2009 , p. 138. * ^ Kilbourn 2013 , p. 84. * ^ Greeley 2017 , p. 118. * ^ Danks 2016 , p. 114. * ^ Reimer The Rage of Angels, According to Wim Wenders". The New York Times . Retrieved 4 July 2017. * ^ Dellamorte, Andre (11 November 2009). "WINGS OF DESIRE Criterion Blu-ray
Blu-ray
Review". Collider.com . Retrieved 5 July 2017. * ^ Press Office (21 August 2014). "BERLINALE 2015: HOMAGE AND HONORARY GOLDEN BEAR FOR WIM WENDERS". Berlin
Berlin
International Film Festival . Retrieved 5 July 2017. * ^ "Der Himmel über Berlin". Deutsches Filminstitut . Retrieved 9 July 2017. * ^ "LES AILES DU DÉSIR". JP's Box-Office. Retrieved 9 July 2017. * ^ A B Monaco 1992 . * ^ Christensen Ebert, Roger (18 June 1988). "Wings of Desire review". Siskel & Ebert & The Movies . * ^ Denby, David (9 May 1988). "Where Angels Long to Tread". New York . p. 68. * ^ Howe, Desson (1 July 1988). "\'Wings of Desire\' (PG-13)". The Washington Post . Retrieved 1 July 2017. * ^ Stratton, David (20 May 1987). "Himmel Ueber Berlin". Variety . Retrieved 30 September 2017. * ^ Kempley, Rita (1 July 1988). "\'Wings of Desire\' (PG-13)". The Washington Post . Retrieved 1 July 2017. * ^ Stengel 2015 , p. 93. * ^ "The 1,000 Greatest Films (Full List)". They Shoot Pictures, Don't They?. * ^ A B Dutka, Elaine (27 February 2005). "A descent into the bunker". The Los Angeles
Los Angeles
Times . Retrieved 21 August 2017. * ^ Weinberg, Marc (April 1990). "The Eighties' Finest Films". Orange Coast Magazine . pp. 189–190. * ^ A B Ebert, Roger (12 April 1998). "WINGS OF DESIRE". Rogerebert.com. Retrieved 1 July 2017. * ^ Nathan, Ian (3 March 2006). " Wings of Desire
Wings of Desire
Review". Empire . Retrieved 30 September 2017. * ^ The Film Critics (2004). "The Best 1,000 Movies Ever Made". The New York Times . Archived from the original on 22 July 2016. Retrieved 13 August 2016. * ^ ""Himmel über Berlin"-Star gestorben". Der Spiegel . 19 January 2007. Retrieved 10 September 2017. * ^ Rothkopf, Joshua (19 January 2007). "Wings of Desire". Time Out . Retrieved 30 September 2017. * ^ Staff (11 June 2010). "The 100 Best Films Of World Cinema: 64. Wings of Desire". Empire . Retrieved 30 September 2017. * ^ DD (11 September 2014). "Les ailes du désir de Wim Wenders". Les Inrockuptibles . Retrieved 10 September 2017. * ^ Staff (28 October 2014). "Le regard des anges". aVoir-aLire. Retrieved 10 September 2017. * ^ Sontheimer, Michael (3 November 2014). "Geteilte Stadt, geheilte Stadt". Der Spiegel . Retrieved 10 September 2017. * ^ Maltin 2014 . * ^ Rosenbaum, Jonathan (2016). "Wings of Desire". Chicago Reader . Retrieved 30 September 2017. * ^ "Les Ailes du désir (1987) de Wim Wenders". Le Monde
Le Monde
. 15 March 2017. Retrieved 10 September 2017. * ^ "Engel, die auf Menschen starren". Der Tagesspiegel . 4 February 2016. Retrieved 10 September 2017. * ^ Ritchey, Jessica (30 May 2017). "GOD IS IN THE DETAILS: ON "WINGS OF DESIRE" 30 YEARS LATER". Rogerebert.com. Retrieved 30 September 2017. * ^ "Wings of Desire". rottentomatoes.com. 17 May 1987. * ^ A B "DER HIMMEL UBER BERLIN". festival-cannes.com. Retrieved 1 July 2017. * ^ A B "LES AILES DU DÉSIR". Cinémathèque royale de Belgique. Retrieved 2 July 2017. * ^ Dickinson, Robert. "The Unbearable Weight of Winning: Garci\'s Trilogy of Melancholy and the Foreign Language Oscar" (PDF). Spectator. p. 13. Retrieved 2 July 2017 – via University of Southern California . * ^ "Film in 1988". British Academy of Film and Television Arts . Retrieved 1 July 2017. * ^ "PALMARÈS 1988 - 13 ÈME CÉRÉMONIE DES CÉSAR". Académie des Arts et Techniques du Cinéma . Retrieved 1 July 2017. * ^ "Nominations 1988". European Film Academy
European Film Academy
. Retrieved 1 July 2017. * ^ "1988 The Winners". European Film Academy
European Film Academy
. Retrieved 1 July 2017. * ^ A B Riggs 2003 , p. 329. * ^ "Deutscher Filmpreis, 1988". German Film Awards . Retrieved 1 July 2017. * ^ "14TH ANNUAL LOS ANGELES FILM CRITICS ASSOCIATION AWARDS". Los Angeles Film Critics Association . Retrieved 1 July 2017. * ^ Kehr, David (9 January 1989). "\'Unbearable Lightness\' Named Best Film Of \'88 By Critics Group". The Chicago Tribune . Retrieved 2 July 2017. * ^ "\'Unbearable Lightness\' Gets Film Prize". The New York Times . 9 January 1989. Retrieved 2 July 2017. * ^ Maslin, Janet (16 December 1988). "\'Accidental Tourist\' Wins Film Critics\' Circle Award". The New York Times
The New York Times
. Retrieved 30 September 2017. * ^ Bromley 2001 , p. 6. * ^ "Onam Keli Switzerland 2009 skit Njan Gandharvan". World News Network . 5 September 2009. Retrieved 1 July 2017. * ^ Humphreys 2011 , p. 158. * ^ Hickling, Alfred (17 September 2003). "Wings of Desire". The Guardian . Retrieved 2 July 2017. * ^ Isherwood, Charles (5 December 2006). "Foolishly, an Angel Falls in Love and Rushes In ... and Up". The New York Times
The New York Times
. Retrieved 2 July 2017. * ^ A B Winter, Jessica (2010). "Earth Angel". Slate Magazine . Retrieved 2 July 2017.

BIBLIOGRAPHY

* Batchelor, David (2000). Chromophobia. Reaktion Books. ISBN 1861890745 . * Billingham, Peter (2013). "'Into My Arms': Themes of Desire and Spirituality in The Boatman's Call". The Art of Nick Cave: New Critical Essays. Bristol and Chicago: Intellect Books. ISBN 1841506273 . * Brady, Martin; Leal, Joanne (2011). "Leafing Through Wings of Desire". Wim Wenders and Peter Handke: Collaboration, Adaptation, Recomposition. Rodopi. ISBN 9042032480 . * Bromley, Roger (2001). From Alice to Buena Vista: The Films of Wim Wenders. Greenwood Publishing Group. ISBN 0275966488 . * Byg, Barton (2014). "Spectral Images in the Aftermath of GDR Cinema". DEFA After East Germany. Rochester, New York: Camden House. ISBN 1571135820 . * Christensen, Miyase; Erdoǧan, Nezih (2008). Shifting Landscapes: Film and Media in European Context. Cambridge Scholars Publishing. ISBN 1847184731 . * Cook, Roger F. (1997). "Angels, Fiction, and History in Berlin: Wings of Desire". The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition. Wayne State University Press. ISBN 0814325785 . * Danks, Adrian (2016). "Red Right Hand: Nick Cave and the Cinema". Cultural Seeds: Essays on the Work of Nick Cave. London and New York: Routledge. ISBN 1317156250 . * Davison, Annette (2017). "Music to Desire By: The Soundtrack to Wim Wenders's Der Himmel über Berlin". "Hollywood Theory, Non-Hollywood Practice ": Cinema Soundtracks in the 1980s and 1990s. Routledge. ISBN 1351563580 . * Detweiler, Craig (2009). "Christianity". The Routledge Companion to Religion and Film. London and New York: Routledge. ISBN 1135220662 . * Detweiler, Craig (2017). "10. Wings of Desire". God in the Movies: A Guide for Exploring Four Decades of Film. Brazos Press. ISBN 1493410598 . * Fitzpatrick, Rob; Roland, Mark (2006). Gods of Rock. New York: Sterling Publishing Company, Inc. ISBN 1402736738 . * Graf, Alexander (2002). "Chapter Three: Wings of Desire". The Cinema of Wim Wenders: The Celluloid Highway. London and New York: Wallflower Press. ISBN 1903364299 . * Greeley, Andrew M. (2017). God in the Movies. New York and London: Routledge. ISBN 135151721X . * Hasenberg, Peter (1997). "The 'Religious' in Film: From King of Kings to The Fisher King". New Image of Religious Film. Franklin, Wisconsin: Sheed & Ward. ISBN 1556127618 . * Huda, Anwar (2004). The Art and Science of Cinema. Atlantic Publishers & Dist. ISBN 8126903481 . * Humphreys, Rob (2011). The Rough Guide to Prague. Penguin. ISBN 1405382511 . * Hurbis-Cherrier, Mick (2012). Voice and Vision: A Creative Approach to Narrative
Narrative
Film and DV Production. CRC Press. ISBN 1136067663 . * Jesinghausen, Martin (2000). "The Sky over Berlin
Berlin
as Transcendental Space: Wenders, Doblin and the ' Angel
Angel
of History'". Spaces in European Cinema. Exeter, England and Portland, Oregon: Intellect Books. ISBN 1841500046 . * Kilbourn, Russell J.A. (2013). "From Her to Eternity/From Eternity to Her: Wings of Desire". Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema. New York and London: Routledge. ISBN 1134550154 . * Klosterman, Chuck (2009). "Pie Fights and the Suicidal Fetus: 6 Happily Discarded Alternate Endings". Inventory: 16 Films Featuring Manic Pixie Dream Girls, 10 Great Songs Nearly Ruined by Saxophone, and 100 More Obsessively Specific Pop-Culture Lists. Simon and Schuster. ISBN 1439109893 . * Kolker, Robert Phillip; Beicken, Peter (1993). "Wings of Desire: Between Heaven and Earth". The Films of Wim Wenders: Cinema as Vision and Desire. Cambridge University Press. ISBN 0521380642 . * Lüdi, Heidi; Lüdi, Toni (2000). Magic Worlds: Production Design in Film - Das Szenenbild Im Film. Edition Axel Menges. ISBN 3932565134 . * Maltin, Leonard (2014). Leonard Maltin's 2015 Movie Guide. Penguin. ISBN 0698183614 . * Marcus, Laura (2015). "The Library in Film: Order and Mystery". The Meaning of the Library: A Cultural History. Princeton and Oxford: Princeton University Press. ISBN 1400865743 . * Monaco, James (1992). The Movie Guide. Perigee Books. ISBN 0399517804 . * Niemiec, Ryan M. (2009). "International Cinema". The Cinematic Mirror for Psychology and Life Coaching. Springer Science & Business Media. ISBN 1441911146 . * Overstreet, Jeffrey (2007). Through a Screen Darkly: Looking Closer at Beauty, Truth and Evil in the Movies. Gospel Light Publications. ISBN 0830743154 . * Reimer, Robert Charles; Reimer, Carol J. (2010). The A to Z of German Cinema. Rowman & Littlefield. ISBN 0810876116 . * Riggs, Thomas (2003). Contemporary Theatre, Film and Television. Gale / Cengage Learning. ISBN 0787670952 . * Scheibel, Will (2017). American Stranger: Modernisms, Hollywood, and the Cinema of Nicholas Ray. SUNY Press. ISBN 1438464118 . * Stengel, Wayne (2015). Talking about Pauline Kael: Critics, Filmmakers, and Scholars Remember an Icon. Rowman & Littlefield. ISBN 1442254602 . * Stoddart, Helen (2000). "Flights of Fantasy: Representing the Female Aerialist". Rings of Desire: Circus History and Representation. Manchester University Press. ISBN 0719052343 . * Tzioumakis, Yannis (2012). Hollywood's Indies: Classics Divisions, Specialty Labels and the American Film Market. Edinburgh University Press. ISBN 074866453X . * Waddell, Terrie (2015). "Transitional Fantasies of Masculinity: Wings of Desire". The Happiness Illusion: How the Media Sold Us a Fairytale. Routledge. ISBN 1317579828 . * Wenders, Wim (1997). "Excerpts from Interviews with Wenders". The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition. Wayne State University Press. ISBN 0814325785 .

EXTERNAL LINKS

Wikimedia Commons has media

.