They filmed with a 1.66:1 wide-screen format, a common European format at the time, and drew it on the viewfinder. The two begin to bond as they travel through Ruhr, and the search comes to an end when the police spot them and inform Philip that Lisa has been found. [11], Wim Wenders on Walker Evans, polaroids and road movies, King of the Road by Chris Petit in the Guardian Saturday January 5, 2008, Wenders' restoration notes from Wim Wenders Stiftung, Criterion offers a loose trilogy from Wim Wenders, king of the road movie, https://en.wikipedia.org/w/index.php?title=Alice_in_the_Cities&oldid=976548591, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License, This page was last edited on 3 September 2020, at 15:38. [5], The film was shot close to chronological order beginning in North Carolina, proceeding to New York, then continuing in Amsterdam and finishing in Germany, all throughout the summer of 1973. [3] The influence of Handke's 1972 novel Short Letter, Long Farewell, also featuring an alienated German-speaker travelling across the United States, can be inferred from the film's use of clips from John Ford's Young Mr. Lincoln, itself heavily referenced in the novel. The film's theme foreshadows Wenders' later film Paris, Texas.[1]. When Alice is unwilling to stay in the Amsterdam airport alone while Philip leaves, the two decide to return to West Germany where Philip can deliver Alice to her grandmother's home. Wim Wenders (`Wings of Desire', `Until the End of the World') directs. This would create some problems in later years before everything was rectified with a definitive restoration in 2014. According to Wenders and Müller, that was the format they preferred, but due to television broadcast demands, they had to provide a 4:3 full frame format of the film, even though they never composed for it. Philip and Alice take a flight to Amsterdam on the expectation that they will meet Lisa there, only to find she never arrived at the airport. Instead, Wenders approached D.A. Alice in the Cities’ languid, episodic structure creates ample room for Vogler and Rottländer to develop their chemistry in sweet, sentimental bonding sessions, while their circuitous trajectory through graying European cities offers Wenders the ideal template to explore the influence of chance encounters on life’s ultimate path. Unfortunately, Alice can't remember her grandmother's name or address, except that she may live in Wuppertal, the only clue being a photograph of her grandmother's front door with no house number and no one in the shot. Wenders mentioned to Fuller that he had just cancelled a project, and upon finding out that Wenders had already secured the financing for the film, he convinced Wenders that it was a mistake. Pennebaker, who had footage of Berry singing the song from the concert that yielded Sweet Toronto. "[9] In 2008, Philip French of The Observer called Rottländer's performance as Alice "unforgettable". It is the first part of Wenders' "Road Movie trilogy", which also includes The Wrong Move (1975) and Kings of the Road (1976). According to Wenders, Alice in the Cities, his fourth feature-length film, came at a major turning point when he was deciding whether to remain a filmmaker. Attempting to book a flight from New York City back to West Germany, he meets a German woman, Lisa, and her young daughter, Alice, who are also trying to return home. "[7] The film also won the Best Film award at the German Film Critics Association Awards. It was all done in one day. Soon after, Wenders went to Samuel Fuller, who had invited him to come visit after a prior encounter in Germany. Some parts, like certain hotel scenes and almost anything filmed in a car, closely followed the script due to logistical reasons, but by the end of the film, Wenders said they virtually ignored the script altogether. [2], The film was scored by the German band Can. The first film in what would become Wenders’ “Road Trilogy” is emblematic of the series as a whole: it stars Rüdiger Vogler in a story of commiseration between lost souls over the course of a wayward road trip, it’s brilliantly shot in off-the-beaten-path locales by cinematographer Robby Müller, and it’s strung together by somber musical leitmotifs. Alice in the Cities (German: Alice in den Städten) is a 1974 German road movie directed by Wim Wenders. The first of the road films that would come to define the career of Wim Wenders, the magnificent ALICE IN THE CITIES is an emotionally generous and luminously shot odyssey. [2], Wenders and Robby Müller had hoped to shoot in 35 mm with the Arri BL, which had just come out at the time, but it was too difficult to find one, a common problem with newly issued cameras. The film is shot in black and white by Robby Müller with several long scenes without dialogue. When interviewed about the experience, Can's Irmin Schmidt stated that it was recorded by Schmidt, Michael Karoli and Jaki Liebezeit, and that they were not able to see the movie before recording the music. [2], Licensing became an issue when Wenders tried to include footage he had shot of Chuck Berry in Frankfurt (presumably in late July 1973). After searching through Wuppertal, Alice admits her grandmother doesn't live there, and that she only wanted them both to stay in Amsterdam. Combined with their budgetary limitations, they were left with no other option than to switch to 16 mm. The first of the road films that would come to define the career of Wim Wenders, the magnificent Alice in the Cities is an emotionally generous and luminously shot odyssey. Enraged, Philip turns Alice over to the police, but Alice escapes and returns to him with a new lead that her grandmother lives in Ruhr. The main feature on this DVD title probably has English subtitles. The first of the road films that would come to define the career of Wim Wenders, the magnificent Alice in the Cities is an emotionally generous and luminously shot journey. It is the first part of Wenders' "Road Movie trilogy", which also includes The Wrong Move (1975) and Kings of the Road (1976). As the film progressed, the production grew more confident about improvising each scene. [6], In 1974, Nora Sayre and Lawrence Van Gelder of The New York Times wrote that Alice in the Cities is "a film with a great deal to say about Europe and America, about the exhaustion of dreams and the homogenization of nations, about roots and the awareness of time, about sterility and creativity, about vicarious and real adventure and, eventually, about the possibilities of the future. A German journalist (Rüdiger Vogler) is driving across the United States to research an article; it's a disappointing trip, in which he is unable to truly connect with what he sees. Alice in the Cities was a conscious attempt to make something only he could do. This became a viable workaround, for licensing Pennebaker's footage (which they had to decolorize for the film) was substantially cheaper than clearing their own with Berry's camp. The film can be seen as a response to Handke's novel. He went on to say that the film would not be able to be made today "partly because of the invention of the mobile phone, partly because of our obsessive fear of anything that might be interpreted as paedophilia. According to Wenders, it was also an additional inspiration for the film, but Berry's camp demanded a clearance fee that they could not afford to pay. Alice in the Cities’ languid, episodic structure creates ample room for Vogler and Rottländer to develop their chemistry in sweet, sentimental bonding sessions, while their circuitous trajectory through graying European cities offers Wenders the ideal template to explore the influence of chance encounters on life’s ultimate path. Copyright © 2019 President and Fellows of, Directed by Wim Wenders, 1974, Directed by Wim Wenders, 1969, Directed by Wim Wenders, 1977, Directed by Wim Wenders, 1975, Directed by Wim Wenders, 1982, Directed by Wim Wenders, 1984, Directed by Wim Wenders, 1987, Directed by Wim Wenders, 1989, Directed by Wim Wenders, 1999, Directed by Juliano Ribeiro Salgado and Wim Wenders, 2014, Directed by Wim Wenders, 1995, Directed by Wim Wenders, 1991. The footage was important as it included a performance of Berry's classic song, "Memphis, Tennessee", where the singer is trying to re-connect with his daughter. A German photojournalist finishes an assignment in the United States and returns to Germany, reluctantly escorting an independent-minded nine year old girl. To his horror, the film appeared to be very similar to the one he was making, prompting him to call his production office and break the news that he was canceling the project, believing the film that they were going to shoot "had already been made". The former finds the latter in a New York airport after Alice has been abandoned by her mother, and somewhere along the way Philip’s mission to document America by endlessly snapping Polaroids yields to a duty to escort Alice to her grandmother in Europe. Alice in the Cities (German: Alice in den Städten) is a 1974 German road movie directed by Wim Wenders. [4], While Wenders was preparing Alice in the Cities, a friend took him to see Peter Bogdanovich's new film, Paper Moon. The film is shot in black and white by Robby Müller … [8], Later, in 1988, Jonathan Rosenbaum hailed Alice in the Cities as one of Wenders' strongest works, calling it a pungent hybrid of European and American elements "with its effective broodings over American and German landscapes and their ambiguous photographic representations. After Lisa leaves Alice temporarily in Philip's care, she disappears to deal with a relationship she has recently terminated. He decides to return to Germany, and while trying to book a flight, encounters a German woman and her nine year old daughter Alice doing the same. Instead, they went through a collaborative approach with Wenders, who was very short of time. Alice in the Cities subtitles. German journalist Philip Winter has a case of writer’s block when trying to write an article about the United States. Club also described Alice as resembling "a genuine little kid" and praised the photography as "gorgeous". "[10], In 2016, US director Allison Anders described Alice in the Cities as "one of my very favorite films, and a guiding light," and praised Alice as "one of the screen’s most multifaceted child characters, and one of the most empowered female characters in cinema to this day. West German writer Philip Winter has missed his publisher's deadline for writing an article about the United States.

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