Der Stand der Dinge (1982)

Auszeichnungen
- 4 Gewinne & 1 Nominierung insgesamt

Topbesetzung21

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Allen Garfield

Gordon

Samuel Fuller

Joe

Isabelle Weingarten

Anna

Rebecca Pauly

Joan

Jeffrey Kime

Mark

Geoffrey Carey

Robert

Camila Mora-Scheihing

Julia
(as Camila Mora)

Alexandra Auder

Jane

Patrick Bauchau

Friedrich Munro

John Paul Getty III

Dennis
(as J. Paul Getty III)

Viva

Kate

Artur Semedo

Production Manager

Francisco Baião

Soundman

Robert Kramer

Camera Operator

Roger Corman

The Lawyer

Gisela Getty

Secretary
(as Martina Getty)

Monty Bane

Herbert

Janet Graham

Karen
(as Janet Rasak)

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Wissenswertes
Wim Wenders borrowed the entire cast and crew of The Territory (1981) to make this film.

Patzer
Alle Einträge enthalten Spoiler

Zitate
Mark: You know, I take pictures, photographs, but I never really thought in black and white before I saw our rushes. Do you know what I mean? You can see the shape of things.
Joe: Life is in colour, but black and white is more realistic.

Crazy Credits
When the opening credits finally appear(about 10 minutes into the film), they appear letter by letter as if typed by a typewriter. When the credits completely fill the screen, the camera pans to the left, wiping the credits off the screen.

Alternative Versionen
The sci-fi introduction of the German edit is tainted in brown. This edit is also 12 seconds shorter. At 37'03", the Cornelita song has only one verse.

Verbindungen
Featured in Reverse Angle: Ein Brief aus New York (1982)

Soundtracks
Standin' at the Big Hotel
By Joe Ely
Courtesy of MCA Records

Benutzerrezensionen21

Rezension

Ausgewählte Rezension

9/10

This is not a movie that's easy to understand, yet it easily makes you think. It smells of nostalgia and of things past and fading. The film that the film crew is shooting about survivors to a nuclear holocaust is a parallel to the director's own journey to collect money from his LA producer in order to continue the film. The movie is visually beautiful, full of the magic of black and white photography. It's also a movie that constantly speaks about itself, about the hardships of shooting black and white, and about the need for "a story" which the film itself seems to lack. It tries not to be a film, but to film life. Yet, in the ordinary and particular of everyday life it conveys the eternal and universal.