The American Friend

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.

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?

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' movies are really a matter of taste. His detractors find his movies to be painfully slow, drawn out, pretentious affairs. Even I can admit to finding the prospect of sitting through some of his movies (particularly 'Until the End of the World' and 'Faraway, So Close!') almost unbearable. But when Wenders is on form he is hard to beat for mysterious, multi-layered, genuinely haunting movies.

Some people regard 'The American Friend' as a total bore, but I found it to be anything but, and almost equal to his masterpieces 'Paris, Texas' and 'Wings Of Desire'. Sure it is slow, and bound to frustrate those with MTV-type attention spans, but bear with it, and you will be rewarded.

Bruno Ganz is first rate as the picture-framer turned reluctant hitman, and Dennis Hopper, who is often ridiculed for his over the top self parodic "crazy guy" roles, is quietly impressive as the enigmatic, almost poetic Ripley. Compare his performance (and this movie as a whole) with Matt Damon's obvious turn in the more recent 'The Talented Mr. Ripley'. It speaks volumes for how much less subtle and intelligent most contemporary movies have become.

Patricia Highsmith began infusing the world of film with creepy stories as early as 1951, with Hitchcock's masterpiece 'Strangers on a Train'. Her novels about the criminal character Ripley have been popular with several leading directors, and here Wenders has a go at her novel 'Ripley's Game'. It is not totally successful, and it is 'a real downer', with its gloom unalleviated. But it is yet another of Wenders's great films, just terribly depressing and leaving a sickly taste in the mouth. But of course that was what Highsmith aimed at, and Wenders duly executed. The main theme of the film is complicity, and the sub-text is the thin veneer of morality that lies across the surface of most respectable people, which can be more brittle than we imagine and under stress can reveal a spider's web of myriad cracks which quickly reduce the most smoothly groomed personality to a crinkled mass, like a shattered mirror which hangs on in its frame and refuses to drop. Here the shattered mirror is played by Bruno Ganz, a respectable and moral person leading a quiet life as a picture framer in Hamburg (a marvellously gloomy city). Lisa Kreuzer, who had made several Wenders films already, plays his silent and worried wife with deep intensity, and requires no lines of dialogue to convey her fears. Ganz believes he is dying, so he takes drastic measures to secure financial security for his wife and child. Ripley is played with subtlety and genius by Dennis Hopper, as an amiable American in a cowboy hat with a worm in his soul, but who beneath the criminal levels of his personality has an overwhelming and desperate craving for a real friend who is a nice person. We then see the complicity between these two opposites evolve through a harrowing tale of murder and corruption, with the pathetic Ganz becoming increasingly brazen and the brazen Hopper becoming increasingly pathetic, thus merging into one another. We see Hopper's essential loneliness when he is stripped psychologically naked by events. Ganz thinks he needs Hopper, but it is Hopper who really needs Ganz. Highsmith was intrigued by concealed needs, subliminal agendas, and dominance swops. This is a deep psychological melodrama between two men who in normal life would never even meet, much less end up as buddies. Wenders plunges in and gleefully excplores this moral maze with all the eagerness of a ferret in a rabbit hole. What fun he has! And film director Nicholas Ray is marvellous in his cameo as an aged painter of forgeries, living under an assumed name after having faked his own death. Everything about this film is morally dubious, and that is the point. After all, isn't most of life morally dubious? And aren't most people, when put to the test? Here, two unlike objects are struck together and both surprisingly turn out to be flints, producing fire and setting the kindling alight. Watch the blaze.