If you only look at the story, the old-fashioned plot is almost lackluster. But it is this kind of story of turning into sesame and rotten millet. In Wenders' lens, it seems that there is divine help.
The movie does not really want to talk about such a complicated plot, but focuses on showing the inner entanglement of the characters and the inexplicable trust and friendship with men.
Of course, it is undeniable that this story is much more complicated than Wenders' other films. It is not only thrilling, suspenseful, but also more involved in the world, and it is more grounded and secular.
Wenders is one of the few. In the Western world, he is good at expressing the emotional relationship between men and men, the kind of relationship that is silent and silent.
I don’t know if it is to echo some images of New Hollywood in the 1970s, the typical American cowboy image, and the design of props related to pictures such as images and photos, always remind me of the aesthetic meaning of “material restoration of reality”. The cowboy who entered the city lost the pride of riding a horse and only had a gun in his hand, but this gun seemed to have some meaning of Midnight Cowboy's playfulness.
The physically and mentally exhausted German, a rookie killer who left traces everywhere, slumped to the ground helplessly, looking at the scenery outside his window, the inevitable process of urbanization. He really persisted until the last moment before he passed away. The wife silently looked at the breathless husband. Behind it is the Rhine.
Photography in the 1970s, now it seems, there are only films of that era, with warm tones, low color temperature, and some tender to greasy tones. Looking at it after a few decades, there are more nostalgic colors, and it is as distant as the sunset.
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