Published 2015-09-04 11:47
Charlotte Gainsbourg and James Franco in Wim Wenders’ new film.
However much you do not want to Wim Wenders (“The American Friend”, “Wings of Desire”) will come again. What if he could reinvent its former capacity of the 70s and 80s to create the film drama along with the passage of time? The last decade has Wenders successfully devoted himself to documentaries, such as the wonderful “Pina” in which he so elegantly and danceable picked up the 3D technology in the parlor. Right now he is also bioaktuell with the outstanding Sebastião Salgado-portrait “salt of the earth” that may have an Oscar Chan.
The current sad drama “Everything will be fine” talks – despite the title – to the 2010s Wim Wenders is considerably better as the documentary than feature film.
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In the center his new film is James Franco from the start low-intensity depressed writer Tomas. It does not get better when he causes a small kälkåkande boy’s death a snow icy winter evening in Canadian Quebec. Although it is not his fault.
Tomas goes down significantly, it breaks down with his girlfriend (Rachel McAdams with a peculiar dialect that possibly will be the French-sounding). When he recovers, the big question whether he should convert his trauma literature. Peter Stormare appears as a redemptive publisher confirming that he is entitled to do so.
We will see again Tomas several times during more than ten. Oddly enough, it takes quite long time before he comes himself to seek out Charlotte Gainsbourg single mother Kate who mourn in a country house. It’s not as scary muggigt as her character lived in “Antichrist”, but almost.
The Star The gloss of the film is not a defect, but none of the skilled players have any further leeway in their roles. There will be no crazy outbursts à la Lars von Trier, if you say so.
The Norwegian Bjorn Olaf Johannessen’s script is based entirely on emotion. Nothing wrong with that either. But when Wenders interprets it for long, for aimless, too emotionally drained scenes feel their partnership is hardly a match made in heaven.
The premise is that Tomas and Kate’s life is forever connected by accident. Waiting and waiting for this to manifest itself in more than a few short, pointless meetings, while Tomas staring into space, agonizing over their writing and thinking about its possible inability to love their women and illustrator Kate aimlessly sketches further at its old kitchen table.
The basic question in the drama is extremely existential: how people live on after a huge and crucial trauma that also contains deep feelings of guilt? Throughout the film lies there under the surface, and demands attention. But Wim Wenders does not belong. He is busy to show how people react outside, rather than inside. When Kate survivors, troubled teenage son approcherar Tomas to try to understand their own sad family history, pretending the great writer first be too preoccupied with his career to have time. Not so charming.
When Tomas second girlfriend, a French publisher, is devastated for her partner do not show emotion after they witnessed yet another accident, you feel: Yes! Now it happens. But no, Wim Wenders are not picking up the ball, either.
The best Wenders’ new film is the fact that it is filmed in 3D. There is a fascinating depth in the images of landscapes and highlights, a promising fairytale atmosphere that feels much more beautiful and wiser than the sequence of events painted on canvas. Alexandre DESPLATS emotionally charged music, performed by the Gothenburg Symphony Orchestra, is congenial to the lyric in the visual concept
But there is nothing höjdarbetyg for a melodrama about the fatal accident, creating crisis, love agonies and life-long regret that you like best about the technical details.
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