Der amerikanische Freund

A wonderful film whose plot elements are not nearly as important as the characters' development. Hopper is endearing, and the suspense created in a few paramount scenes is very effective. The music, and the surreal cameos and nature of the story create a very involving film full of clever twists, scenes, and dialogue. The use of different characters might be interpreted as symbols for different national characteristics; but the film is best seen for what it is. A really good story that plays on many of the cliches that were established ten or twenty years before it. Wenders knows his American films.

Jonathan Zimmerman (Bruno Ganz) is an easy going Swiss picture framer living in Germany who believes he is dying from a rare blood disease. When he makes the acquaintance of Tom Ripley (Dennis Hopper), an art dealer of dubious reputation, he is faced with a profound moral question. Should he commit a murder for Ripley's underworld associate, Raoul Minot (Gérard Blain) in order to guarantee the lifelong security of his wife Marianne (Liza Kruezer) and son Daniel (Andreas Dedecke)? Based on the novel Ripley's Game by Patricia Highsmith, Wim Wenders The American Friend is a probing character study of two very different men, one a solitary high stakes adventurer, the other a staid family man grown desperate by his circumstances. Perhaps as a result of an unacknowledged admiration for the other's lifestyle, the business relationship between the two men slowly develops into a reluctant friendship, powerfully illustrating the complexity of the human condition.

Shot in Paris, New York, and Hamburg, Germany, Cinematographer Robby Muller's moody waterfront shots and interior yellow-green color images enhance the mood of paranoia and keep the tension flowing. Cameo appearances by directors Nicholas Ray as a painter who faked his own death and Sam Fuller as an American mobster pay homage to these icons of American cinema. The plot centers around Ripley's revenge for an offhand remark Zimmerman made at an art auction, first spreading the rumor that is health is failing rapidly, then driving him to undertake an act that he would normally consider morally reprehensible. In trying to convince Zimmerman to commit the crime, Raoul offers to provide the services of a Paris hematologist but the lab results are faked and Zimmerman more than ever is convinced that he is going to die. Reluctantly, he commits the murder in a brilliant set piece aboard the Paris Metro, then slowly sinks into a maelstrom of deceit and deception that adds additional twists and turns to an already intricate plot.

Though questions remain unanswered, the strength of the film is not in the plot but in its multi-leveled characterizations and powerful performances. Ganz is fully believable as the decent man tortured by a moral dilemma and Hopper, rebounding from a period of substance abuse, turns in a performance of diabolical intensity as the underworld-connected profiteer. The American Friend avoids the temptation to be simply another film noir thriller or a good versus evil escapade, showing fully realized human beings who have thoughts and feelings we can understand even when we strongly disapprove of their actions. I just have one question. Didn't any one ever tell Zimmerman about life insurance?

A couple of months ago, I bought and watched Paris Texas, directed by Wim Wenders. I searched his filmography to find some other potentially good movies. One of the movies that seemed interesting (to me at least) was this little gem with Bruno Ganz and Dennis Hopper. So finally I decided to watch it and I wasn't disappointed. The performances in English German and French are a bit « sketchy » and don't stand out too much, but other than that, this movie is good. The story is interesting and original. It's not just a standard crime drama like you would expect. The action and crime stuff is good and entertaining. The movie is slow, but it doesn't drag. But the best part about this movie, by far, is the cinematography, including the lighting and the colours.

I've seen many crime movies from the seventies and they all had one thing in common: the "dirty" look. The "dirty" look is hard to explain, but mostly it's abandoned, broken down buildings and streets, brown, grey, elephant pants, polluted streets, guns and big-ass cars. Those things give 70s crime movies that "dirty" look. I really like it, it fits well with crime stories. Der amerikanische Freund has that awesome "dirty" look, but it also has many many colours mixed in. The brightly coloured lights (neons, street lights, car headlights, etc.) reflect heavily on everything and the natural sunlight makes beautiful skies. It looks wonderful and it ads something interesting to the "dirty" look. There are also many great shots and colour choices that I liked throughout the movie.

This cinematography made this crime movie a whole new experience. I can't say this is a better movie than Serpico or Dog Day Afternoon, but at it looks way better. So if you're looking for something different that looks good, I would definitely recommend this german classic.

Wim Wenders is one of my favorite filmmakers, and like Scorsese and Tavernier, he is a world-class cinephile, as much in love with watching movies as he is making them. The problem with 'The American Friend,' I think, is similar to the problem of most contemporary films noir, which is, it's made with the knowledge it's a film noir. But it fails for a different reason than, say, 'L.A. Confidential.' The latter film is simply a big-budget period reconstruction of film noir, like something from the candy sampler box of film genres. It has no life of its own and is sort of like the model they show you when you're shopping around for a home in a new development; the furniture's well-chosen and neatly in place, but no one lives there. Other contemporary noirs, like Altman's 'The Long Goodbye,' approach the genre from a revisionist angle, and 'The American Friend' does it from the wrong angle, from a cinephile's angle.

The movie feels studied, like an academic exercise. It has no edge, no spontaneity. One can appreciate the movie, its cheeky comment on the art world, its humanism, without really enjoying it, and that's the trouble.

I've seen the movie twice and while its bold primary colors were appealing, and its meditative pace pleasurable to an extent, I found it a bit of a chore. It's interesting to see noir slowed down to a crawl, and Nicholas Ray is a delight, and surely, some sequences are involving, but the whole affair is lacking. Wenders' intensity has always been augmented by a certain lightness of touch, and that's what made the noir elements of 'Until the End of the World' a lot of fun. 'The American Friend' is too austere, though. Too muted. I thought 'Purple Noon,' René Clément's 1960 adaptation of the other Patricia Highsmith novel, was too muted the first time I watched it, but on subsequent viewings thought it to be engaging, almost musically so. Metaphysical heaviness for once bogs down a Wenders film rather than enhancing it.

Wim Wenders' tribute to American film noir, with cameos for two great American directors, Sam Fuller and Nicholas Ray, and boasting the most imaginative cinematography ever and the most beautifully ominous music, is finally available in widescreen enhanced DVD. What is it about about Patricia Highsmith which inspires so many directors? From Alfred Hitchcock (Strangers on a Train) to Anthony Minghella (The Talented Mr. Ripley), via Jean-Pierre Melville (Cry of the Owl) and Rene Clement (Plein soleil aka Purple Noon), her novels have translated to the screen with astonishing effect. Purple Noon and The Talented Mr. Ripley adapt the same book in such different yet equally gripping ways that curiosity forced me to seek out the novel, and then the other four Tom Ripley novels. Ripley's Game, the source for The American Friend, is arguably the best of the five, and perhaps of all her novels. Jonathan (Bruno Ganz), not Ripley himself (Dennis Hopper) is the real protagonist. The Hamburg-to-Munich train sequence is probably the centerpiece, but the Paris subway scene is just as incredible (ending in La Defense before the Grande Arche was built). Dialogue flows easily between German, English, and French. Just one example of sensitive detail - when Jonathan (Ganz)is reading his hopeless medical report in a steel/glass/concrete modernist Paris apartment, the camera zeroes in on the miniature Statue of Liberty replica on a concrete island under a bridge across the Seine. A symbolic representation of the title?