The third in a sort of trilogy of road movies by Wim Wenders goes a good deal further than its forerunners (Alice in the Cities, Wrong Moves), and not just in actual length. (On that point, however, it should be said that Wenders makes a positive value of length, stretching it out so as better to convey the disorientation of endless days on the road.) The more significant advance of the movie is its smoother, fuller integration of classical studio moviemaking (the precision of technique, the evenness of tone and tempo, the overall gloss) and of post-New Wave independent (the improvisatory freedom, the looseness of plot, the obliqueness of theme). Rudiger Vogler, Hanns Zischler. (1976) — Duncan Shepherd
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