Berliinin taivaan alla

“Isn’t that Columbo?” Informed by the European film avant-garde, Wim Wenders for once suppressed his admiration for American culture and, with an ignorant child’s astonishment at the world, set out into the streets of his homeland's capital. He lets himself be enchanted along with us. We hear what the angels hear, we see what Henri Alekan’s heavenly camera captures. But we can't touch. We are everywhere, we are nowhere. We are spectators. How can respect for cinema be expressed more kindly? (Who does an angel ask to tell him about the world? A film actor, naturally.) Sound replaces unattainable touches, surrounding and absorbing us, taking us by the hand and leading us. Illusory touches accompany us, and we are called to real touches. Find your own angel, or look with different eyes at the one under whose wings you are already hiding. 85% (10.06.2019)

I don’t mind it if a movie contains some poetic elements. But in this one, I didn’t understand those texts at all. I mean I did understand bits here and there but then it turned into such poetic language where metaphors followed each other in quick succession and it was quite hard to make something meaningful out of it. Nevertheless, I do admit there is a lot of great quality in the film – especially in terms of filmmaking. Every now and then I caught myself simply staring at some of the shots. For instance, the traffic accident on the bridge. I felt as if I was standing there on the bridge and as if I had been part of that accident. But for that to be true the angel Bruno Ganz wouldn’t have to be there – he was undoubtedly genius, but he spoiled the realistic aspect of the movie completely for me and moved the entire movie towards the magical. (01.12.2015)

I heard the sound of angelic wings. But it rustled too far away from me, so it didn't take me into its world. Heaven over Berlin will therefore be a concept for me meaning a legendary film that symbolizes boredom, which acts unbearably coldly in its narrative superiority and which, because of its drawn-outness, fails to reach the viewer sufficiently. In addition, the philosophical line that life is perfect and worth experiencing is strongly unconvincing here, and basing it on the fact that the last decisive word belongs to Peter Falk at the buffet simply doesn't convince me. And that's where I could end the commentary, but Wenders is a cunning fox and starts the final third with a hypnotic scene in a music club, and until the end, its pace does not weaken. This gives many acting opportunities to Ganz, who until then had only been benevolently watching, and finally I wanted to understand the angelic motivations. I dislike many scenes, I dislike their unnecessary nature, on the other hand, certain few-second-long scenes (prostitute, suicide) smell almost of genius. I cannot unravel the whole knot of Wenders' thoughts. In other words, I respect him, but not favorably. (21.09.2007)

Groping the wrinkled soul of cold Berlin. One of the testaments to the greatness of film in general. I guess another medium wouldn't have sustained this new age spiritualist poem about the diversity of the everyday. (14.07.2019)

Beautiful film. I couldn't believe that from this film a remake of the movie "City of Angels" was made. In comparison to this, the American remake is truly just a shallow romance, albeit touching, that manages to captivate you. Here, it's not all about the romance, the film is multi-layered, entertaining, and overall simply unique in its concept and execution. (25.01.2016)