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Fool For Love is an important film for a number of reasons. It establishes Shepard as one of our finest screen-writers, and confirms the staying power of Altman, who has always been one of our most solid directors. Shepard's collaboration with Wim Wenders on Paris, Texas, and now his work with Altman, hints at a possible Shepard film canon. Coppola doing Buried Child? Kurosawa's A Lie of the Mind? Kubrick's Curse of the Starving Class? A Lucasfilm version of The Tooth of Crime? The mind reels...
Despite such setbacks, many union officials are optimistic about the future of organized labor. Typical of that attitude is Wim Kok, leader of the Netherlands Trade Union Confederation. Says he: "I see a growing realism in the European trade union movement, a growing tendency to be basically positive about the introduction of new technologies as the only way to compete with the U.S. and Japan...
...usually yellow snow, is in grainy black and white. This is Stranger Than Paradise, Jim Jarmusch's independent film that won the 1984 "Newcomer's" award at Cannes in May. The story of its evolution is near-legendary by virtue of a graceful coincidence: over three years ago, Wim Wenders director of Paris, Texas, the 1984 Cannes Palm D'Or grand prize winner, had given Jarmusch the leftover film stock which was to become the 90-minute Stranger than Paradise. Since then, Jarmusch has been punch-drunk on interviews, coaxed into heralding his knew style of American filmmaking" every hour...
...Travis goes searching, with the boy in tow, for his long-lost wife (Nastassja Kinski). Welcome to the new West, pardner, where the myth of the loner is yoked to the grail of domestic reconciliation. No wonder Paris, Texas is as powerfully schizoid as its title: German director (Wim Wenders), American screenwriter (Sam Shepard), the clashing strategies of an international cast. With his gorgeous, precise images of the American Southwest, Wenders suggests a cinematic landscape artist forced by the moneylenders to add some human figures to the picture. Their motivations refuse to parse, and the film ends up where Travis...
Herzog's compatriots, gimlet-eyed burghers such as Volker Schlondorff, Wim Wenders and the late Rainer Werner Fassbinder, made their mark by refracting the cynical spirit of postwar Germany through a lens as hip as the new Hollywood's. Herzog renounces the rubble and babble of his homeland; none of his nine fiction features is wholly set there. Instead, he is drawn to legends and nightmares. In Aguirre, the Wrath of God (1973), a Spanish officer of the 16th century dreams of conquering South America and ends up alone on a raft, blithe and demented, lording it over...