FNC 2008 - A Review of PALERMO SHOOTING

Calling Wim Wenders an important filmmaker is a no-brainer. His fascinating filmography features an impressive number of undeniable classics. Paris, Texas, Wings of Desire and The State of Things are modern masterpieces that offer a unique and linear vision of cinema and our century. Over the years, those movies became somekind of a responsability for Wenders. His followers always expect from him a new American Friend and the German director can’t seem to pull it off. His recent films are either forgettable exercices in social comment (Land of Plenty, The End of Violence) or musical documentaries where the subject gets all the credits (Buena Vista Social Club). The release of Don’t Come Knocking in 2005 showed a sign of a certain return in form from Wenders. Some of the magic was back on the screen. Palermo Shooting, his newest film, carries the same energy and, even known it’s not on the same level than his best work, it deserves to be seen.

Palermo Shooting tells a story Wenders is familiar with : Finn, a photographer, goes on a trip to an Italian town, hoping he’ll find the answers to his existential crisis. Tormented with his own mortality, he wanders in the city, has conversations about the meaning of life with various people and discovers new feelings for a painter. Finn’s quest is compelling, thanks to well-written interior monologues and a likeable performance from punk musician turned actor Campino.

The movie’s main problem is when it suddendly dwelves into fantasy. After taking a photo of a mysterious man, Finn sees himself being attacked by the strange figure. Wenders is incapable of incorporating those magical realism elements without breaking the drammatic tone of his story. Those scenes feature symbolism too heavy to be taken seriously and poor special effects that cheapen what was a rather compelling introspective film. It does lead up to a conclusion with a truly amazing tongue-in-cheek performance from Dennis Hopper, but the final twist wasn’t really necessary considering the film’s original context.

This movie could have been a great psychological drama with an interesting reflexion on art. Too bad Wenders felt giving it an allegorical aspect could bring more wisdom to it. Palermo Shooting is a fine effort, but if the director keeps making lesser films, I’m afraid he’ll forever remain in the shadows of his early work