Classic Wenders

It doesn't have the same third-act punch as the earlier Wenders/Shepard collaboration Paris, Texas (mostly because of Gabriel Mann's listless performance), but it's a nice modern-day update of Wim's usual themes.

I just looked at some of the negative reviews (both amateur and professional), and I can't understand why films like Alice in the Cities, Kings of the Road and the aforementioned Paris, Texas are so revered, while a film like Don't Come Knocking is reviled. To me, it was just as moving and compelling (and occasionally amusing) as those particular films, and one of Wender's most beautiful in terms of capturing the atmosphere of a place.

Call it contemplative, but even with very little exposition the audience understands Howard's motivation, his disappointment and his inability to recognise himself. Like so many of Wenders' greatest characters, he's a lost soul still trying to find his way back to "something..."

There are so many images in the film that are just beautiful to see. The image of Howard wandering through the neon casino like an astronaut on a distant planet; the exterior shot of Howard viewed through the window of his hotel room, the street visible bellow (the most obvious nod to Edward Hopper); the long series of shots of Howard amongst the on-street wreckage, illustrating the chaos of his domestic situation, the literally broken home; the images of Tim Roth's character roaming the desert like David Bowie in The Man Who Fell to Earth - an alien explorer trying to make sense of human emotions.

It's a shame that more people were not invested in the atmosphere of these places, in the sadness of the central characters, or in the beauty of Wenders' filmmaking, but to me it's a film for people who really love cinema (the idea of it) as much as Wenders does; the people who are happy to see time pass on film, to enjoy a beautifully composed image, or a particular colour, or a momentary glance shared between two people that suggests something more personal than dialogue ever could. The kind of people who aren't looking for a purpose, but to share an experience with these characters, to see a reflection of their own feelings on screen.

Wenders' loves filmmakers like Ozu, Ford and Ray and Don't Come Knocking is a like combination of the three; in fact, it's almost a tribute. I consider it his best film since Lisbon Story.