Release Date: September 4th, 2004 (Germany) Directed by: Michael Palm Written by: Michael Palm Cast: Edgar G. Ulmer (voice, archive footage), Peter Bogdanovich, Roger Corman, Joe Dante, John Landis, Ann Savage, John Saxon, William Schallert, Arianne Ulmer, Tom Weaver, Wim Wenders
Edgar G. Ulmer Preservation Corporation, Mischief Films, Westdeutscher Rundfunk (WDR), 77 Minutes
While I was perusing the offerings on the Criterion Channel, I came across this documentary about filmmaker, Edgar G. Ulmer.
This guy made magic in three of my favorite genres: horror, science fiction and film-noir. I believe that this documentary may actually be included on the Criterion Collection version of Detour.
What’s neat about it is that it features interviews and conversations with a lot of well known directors and actors that worked with or were influenced by Ulmer’s work behind the camera.
This also features his daughter who gives more intimate details on Ulmer, his life, her life as his daughter, as well as talking about her time in front of the camera with her father directing.
I really liked the conversation here between Joe Dante and John Landis. I also enjoyed the parts with John Saxon, Ann Savage, Roger Corman and Wim Wenders.
This was just a solid piece of work that really went through the man’s career with insight from some of the people who were there and others who had their own unique insight.
I couldn’t find a trailer for the documentary, so I put a trailer for Detour below, as it is my favorite Edgar G. Ulmer picture.
Rating: 7/10 Pairs well with: other documentaries about horror, sci-fi and noir filmmakers.
Release Date: September 4th, 2012 (Venice Film Festival) Directed by: Sophie Huber Music by: Chris Robertson, Roland Widmer
hugofilm, isotopefilms, Adopt Films, 77 Minutes
Very few actors have as much mileage as Harry Dean Stanton did. He passed away late last year and it sort of feels like there is a massive void that no one else will really be able to fill. Sure, he was a character actor of the highest regard but those few times where he got to be the lead were pretty damn exceptional.
I’ve been working my way through a lot of the Stanton roles I still haven’t seen. For a guy that has 202 IMDb credits, as an actor, I feel as if there will always be some Harry Dean gem I haven’t yet discovered.
This documentary is sweet and initimate. It’s pretty short but we get to spend time with Harry, as he talks about himself, in his own words. We also get to see him reminisce with some of the people he was closest too throughout his career: David Lynch, Kris Kristofferson, Sam Shepard, Debbie Harry and Wim Wenders. He also hear from his personal assistant and see him interact with others.
The documentary also has some bits where Harry sings and talks about how he regrets not trying his hand at music professionally.
While the film does cover some of Stanton’s most notable work, this is more a character study of the man himself.
For fans of Harry Dean Stanton, this is a really cool little film to experience.
Rating: 8/10 Pairs well with: Other documentaries about other famous character actors. That Guy Dick Miller, immediately comes to mind.
Also known as: Motel Chronicles (working title) Release Date: May 19th, 1984 (Cannes) Directed by: Wim Wenders Written by: L. M. Kit Carson, Sam Shepard Music by: Ry Cooder Cast: Harry Dean Stanton, Nastassja Kinski, Dean Stockwell, Aurore Clement, Hunter Carson
Road Movies, Filmproduktion GmbH, Argos Films S.A., 20th Century Fox, 147 Minutes
“I wanted to see him so bad that I didn’t even dare imagine him anymore.” – Jane Henderson
I haven’t seen much of Wim Wenders work but going into this, I had his film The American Friend on my mind, being that I had just revisited it the night before. This was also partially penned by Sam Shepard and stars underappreciated character actors Harry Dean Stanton and Dean Stockwell, as well as Klaus Kinski’s daughter, the very talented and beautiful Nastassja Kinski.
At its core, this is a story about redemption and about owning your problems and doing what needs to be done to set things straight. This film is dark yet it is very sweet. It deals with some serious issues from the characters’ pasts but pulls itself out of that muck, throws itself forward, pulls you through a lot of emotion and sadness but ultimately arrives at a satisfying and mostly happy ending.
This is an extraordinary and uncommon film. It almost works as a romance story in reverse. In fact, I guess this could be called an anti-romance. It shows you that even if two people really love each other but the damage is irreparable, they can still come together, non-romantically, to do what’s right for all parties involved.
As great as the legendary Harry Dean Stanton was, I don’t know if he ever put in a better performance than he did here. He was perfection, a real actor of the highest caliber and most of the time he didn’t have to say anything, his emotion and his words were conveyed on his face. In fact, he spends the first third of the movie completely mute. When he finally does start talking, it’s soft and very short. But once we get to the big scene where he has to finally open up and right his wrongs, he does so in such a genuine and beautiful way that you are drawn into his words and transported into his memories. Stanton’s performance in this movie is one of the best acting performances I have ever seen, period.
I also have to mention Nastassja Kinski’s performance, as she played opposite of Stanton in the film’s most pivotal moment. She held her own and helped to enhance Stanton’s performance by her reaction to his words and her response.
Dean Stockwell did a fine job in the first two-thirds of the film as Stanton’s brother but more in the role of being the eyes and ears of the audience, as he didn’t understand what the heck was going on with his brother and he wanted answers to the mystery of his brother’s four-year disappearance.
The look of this film is incredible and it boasts the cinematography of Wenders’ regular cinematographer, Robby Müller. The films uses that bright, electric, neon green that Müller is synonymous for, especially when used in contrast to dark backgrounds with accents of red and sometimes other colors subtly dropped in. The look here is very similar to Wender’s and Müller’s The American Friend, as well as another 1984 film Müller worked on, which also starred Harry Dean Stanton, Repo Man.
Paris, Texas is a really emotional film and I don’t know how anyone could watch it and leave the experience untouched. Very few films have the ability to actually touch the soul and transform the viewer or to give them at least a new perspective on things. This film, at least for me, opened my eyes to some things and really sort of changed how I have viewed some of my own life experiences. Wenders, through the profound performance of Stanton, was able to create something here that speaks directly to the human core. It’s soothing in it’s sadness and it’s loving finale. And ultimately, it drums up hope where there isn’t any.
Rating: 10/10 Pairs well with: Wim Wenders’ The American Friend for their visual similarities. I also like watching this with Repo Man, as they share their star and cinematographer. Plus, 1984 was just Harry Dean Stanton’s year.
Also known as: Der amerikanische Freund (Germany) Release Date: May 26th, 1977 (Cannes) Directed by: Wim Wenders Written by: Wim Wenders Based on:Ripley’s Game by Patricia Highsmith Music by: Jürgen Knieper Cast: Dennis Hopper, Bruno Ganz
Axiom Films, 127 Minutes
“It’s December 6th, 1976. There’s nothing to fear but fear itself. I know less and less about who I am, or who anybody else is.” – Tom Ripley
I didn’t know much about this movie going into it. I came across it on FilmStruck as a part of the Criterion Channel. Also, it wasn’t until I was halfway through it that it dawned on me that Dennis Hopper was playing the same Tom Ripley that Matt Damon played in The Talented Mr. Ripley.
I’m glad that I discovered this film however, as it was fantastic and a really refreshing experience, as I’ve been in a bit of movie limbo lately.
From a directorial and cinematic standpoint, this is one of the best films I have ever seen. The framing of every shot is damn near perfection. The visual composition feels alive and the world truly feels authentic and lived in. There is a vivid flare to the picture that is similar to the Italian giallo style. The European cityscapes and late 70s New York City give the movie a genuine grittiness that perfectly emphasizes the tone of the film. The American Friend is one of the best looking and mesmerizing motion pictures I have ever seen and I don’t say that lightly.
Bruno Ganz and Dennis Hopper are both stellar in this picture. Their relationship changes and evolves throughout the story and you never really know what each man thinks of the other. Add in the criminal elements of the plot and all the twists and turns and this is very true to the film noir style albeit modernized with incredible visual style.
Director Wim Wenders would go on to have a great career but here, he gives a real nod to those who influenced his work. In the roles of the gangster characters, Wenders cast Gérard Blain, Nicholas Ray, and Samuel Fuller – all three being directors that Wenders had a deep admiration for. He essentially gave props to his influences and mentors in the same way Quentin Tarantino would do decades later.
This film primarily takes place in Europe and is a German and French production but most of the movie is in English. There are some subtitled bits but surprisingly not as many as you would think.
I don’t want to get into the plot too much, as I went into this blindly and fell in love with it. I’d prefer for others to have the same experience, especially in a day and age where movies are spoiled by their trailers alone.
It is hard comparing the film to anything, as I can’t think of anything else like it. It is an amalgamation of a lot of cool things that can be taken away from more famous films but the overall composition is truly original. And frankly, this film deserves more recognition than it has.