Estrela Solitária

"Don't Come Knocking" is undoubtedly the best fiction film made by Wim Wenders since "Wings of Desire". Wenders joins forces with playwright/actor Sam Shepard and the result is a wonderful journey, in Wenders' best style, of a man who flees his life to search for himself. Howard is an over-the-hill western movie star who's had his share of sex, booze and arrests in the past. He never settled down and prefers the lush life. Until, one day, he decides to flee a movie set, apparently for no reason apart from an existential crisis. He searches for anonymity in his small home town, visiting his mother for the first time in 30 years and discovers he might have had a child with one of his on-the-road conquests. This realization sends the middle-aged man on a search which confronts him with his own past, the way he has lived his life and what he could have done with it, had he decided to live it another way. But don't expect a morality tale: Wenders and Shepard are too intelligent for that. True to his instincts, Howard will persist in his erratic behavior till the very end. In short, in an age of comic book movies, "Don't Come Knocking" holds you onto your seat with a story that lets us breathe a bit of humanity. Wonderful performances, with kudos to Jessica Lange, maybe in her best performance ever. And we still get a homage to John Ford with images of Monument Valley and the large expenses of the West. Truly, a gem of a movie!

Wim Wenders and Sam Shepard let you walk in the boots of a guy who's stepping out of his pitiful daily life to face the past and find out how this can be both hard and rewarding. Wender's beautiful slow moving style to unfold the story lets you follow and feel what's going on within the "hero" and the people he encounters. The marvelous scenery of the West is shot to remind you of some scenes of "Thelma and Louise". The music blends in wonderfully. The interactions are almost every time worked out in every detail and dialogs sound so real you can imagine this to happen in your neighborhood. Last not least all of it is played by an outstanding group of actors making it very hard to decide who'd be your favorite which adds to complete the reason why this movie is excellent to me.

Funny scenes, laughter and deep emotions - if you're a lover of fast-food (movies) - don't go. You'd probably find it boring.

Wim Wenders has done it again. The authentic German American filmmaker has recaptured the nostalgia of the American West influenced by photographer Robert Frank and feeding off plot themes by his contemporary, Jim Jarmusch. But much like all of Wenders films, his plots are not the central focus. He is interested in details, symbolism, existentialism and the process of creation. What I always liked about Wenders was his taste in music. I always hear something new that I get very interested in. Don't Come Knocking has a wonderful score.The Buena Vista Social Club is an obvious example, but there is also the music of Madredeus in Lisbon Story or the Stewart Copeland country score in "Kings of the Road'. speaking of "Kings of the Road", there is an interesting detail that is repeated in this film: At the end of Kings, there is a cinema with a broken neon sign that only has two letters lit "WW" which is the signature of Wim Wenders. This film, has a bar called the "M&M". which is the same only upside down. The story of this film by the way is co-written by Sam Shepard who collaborated with Wenders on "Paris Texas" . This time, he also stars in the film as a cowboy movie star on the search for his ex and his son who he never met. The landscapes reflect the ghostliness of an Edward Hopper painting. Few people exist in the town where he shows up. There are beautiful shots that are very memorable such as the view from the health club looking out the window where Shepard and Jessica Lange are fighting. Another great scene involves a trade in identity where a guy on a horse gets pulled over by a cop and ....well you'll see. Alhough this film symbolizes the transition to reality, it looks as though reality does not appear to be as real as one expects. This is a refreshing film by one of the great filmmakers of our time.

Twenty years after "Paris, Texas", Sam Shepard returns with a sequel. Again, a family affair, our hero is searching for his roots in little towns and deserted landscapes.

The production shines from multiple angles. A superb set of actors, and Shepard's own fine performance as Howard -– a Westerns' actor of faded glory -- is almost eclipsed by (his life partner) Jessica Lange as the estranged mother of his son, Gabriel Mann as Earl, the son, and Eva Marie Saint as his stately mother. Comical roles by Tim Roth as the taciturn Sutter, a bounty hunter, and Fairuza Balk as the hilarious Amber, Earl's girlfriend, save the film from turning overly melodramatic.

In addition to the cast, Franz Lustig's cinematography is precisely lit and fluctuates between extremely realistic point-of-view shots with nausea-evoking 360-degree turns and time compression shots. The soundtrack is beautiful and includes some original pieces, and the costume design shines as well (although few people would wear those flamboyantly elegant outfits in Montana).

Despite all of its artistic achievements – acting, cinematography, score, and design – Don't Come Knocking suffers from a weak story line. A tired cliché about the man who've seen it all, had it all, but was never completely happy, and thus he abandons everything in search of the mother he hasn't seen in 30 years, and later his old lover and unknown off-springs. In the end, of course, they are all good, forgiving buddies. Don't Come Knocking is Hollywood sugarcoated at heart, but comes with generous helping of superb cinema, Wenders's signature forte.

Wim Wenders' makes extraordinary movies about ordinary people. Whether the inhabitants are important personalities or 'little people', they are always especial because of their humanity.

When I did an internet movie quiz that supposedly answered the question, ¨If someone made a movie about your life, who would direct it?¨ I kinda hoped it would be Wenders. His characters are tiny flecks on a vast landscape, made infinitely interesting by fine observation and untiring attention. Each character is a mystery unravelling.

In 'Don't Come Knocking', we follow the almost incomprehensible actions of a leading Hollywood actor (played by Sam Shepherd) who absconds from a film set in the middle of the American desert. He is struggling to escape a lifelong persona of drink, drugs and women, but doesn't know what he is looking for or why he feels life has passed him by. He is nudged occasionally in the right direction by his mother, and followed by a mysterious young woman carrying her mother's ashes – and whose knowing smile gently holds back a reservoir of yet-to-be-explained emotion.

Wenders can never be accused of hurrying things along. His movies can be like watching paint dry – except that when the painting is finally ready to touch we may feel a masterpiece has just crystallized before our eyes. This is perhaps one of those occasions. Tim Roth as the inscrutable bond man tracking down the wayward actor is barely recognisable till half way through the film, so perfect is the characterisation. Sarah Polley as the mysterious Sky can almost make us burst into tears before we have any idea why, or of the secret she is holding. Shepherd plays Howard Spence with biopic-like conviction. Add a score by T-Bone Burnett that seems to suspend time in the desert with guitar chords that hang in the air, and framed scene upon scene that looks like a classic movie poster waiting to be discovered.

Don't Come Knocking is like one big Do Not Disturb sign on the things we most need to know and that no-one wants to tell us. It's why they're secret – and why we also have to know. The film takes a very long time to answer it's own puzzle but, if you can stand the pace, the result is ultimately worth it.