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At Tate Modern

Peter Campbell: Good plain painting and men in shirt-sleeves, 24 June 2004

... than life at home might see them. Foreign artists, photographers and film-makers in particular – Wim Wenders, Robert Frank – have a special liking for this aspect of the look of America. Hopper did it better. The images get stronger as he gets older. The pictures he made during early trips to Paris in the 1920s have a nice feeling for asymmetrical ...

Sam, Sam, Mythological Man

David Jones, 2 May 1985

Motel Chronicles and Hawk Moon 
by Sam Shepard.
Faber, 188 pp., £3.95, February 1985, 0 571 13458 0
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Paris, Texas 
by Wim Wenders and Sam Shepard.
Ecco, 509 pp., £12.95, January 1985, 0 88001 077 0
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... you mind telling me where you’re headed? What’s out there? There’s nothing out there.’ Wim Wenders, the film’s German director, was credited with bringing a detached European curiosity to the discovery of a new, exotic side of America. His achievement was, rather, to realise with great visual flair the landscape and fractured personalities ...

At the Movies

Michael Wood: ‘Jojo Rabbit’ and ‘A Hidden Life’, 5 March 2020

... trial (it is now 1943), Franz comes before a judge, played by Bruno Ganz, star of great movies by Wim Wenders and Werner Herzog. The judge suspends the proceedings to have a quiet talk with Franz, and provides the film’s one truly memorable scene. He tries, as others have, to get Franz to see reason, and Franz says he cannot betray his conscience. He ...

No more pretty face

Philip Horne, 8 March 1990

Emotion Pictures: Reflections on the Cinema 
by Wim Wenders, translated by Sean Whiteside and Michael Hofmann.
Faber, 148 pp., £12.99, November 1989, 0 571 15271 6
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Scorsese on Scorsese 
by Martin Scorsese, edited by David Thompson and Ian Christie.
Faber, 178 pp., £12.99, November 1989, 9780571141036
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... Wim Wender’s very pleasurable Paris, Texas (1984) is both an American movie and a European film. Its creative pedigree is mixed – all through the credits: the German Wenders as director, the American Sam Shepard as writer; the German Robby Müller as cinematographer, the American Ry Cooder as composer/performer of the music; the American actors Harry Dean Stanton and Dean Stockwell as the central Henderson brothers, the French Aurore Clément and the German Nastassia Kinski as their wives ...

Secretly Sublime

Iain Sinclair: The Great Ian Penman, 19 March 1998

Vital Signs 
by Ian Penman.
Serpent’s Tail, 374 pp., £10.99, February 1998, 1 85242 523 7
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... dream they all had, the gob-for-hire scribes, the cultural commodity brokers? That Abel Ferrara or Wim Wenders or Fassbinder or Jean-Pierre Melville would recognise that they were the only ones who understood the secret text, the story beneath the story. And they would be whisked away, club class, to an air-conditioned suite to collaborate on some ...

True Grit

Christopher Tayler: Sam Shepard, 6 March 2003

Great Dream of Heaven 
by Sam Shepard.
Secker, 142 pp., £10, November 2002, 0 436 20594 7
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... work on screenplays, too, contributing to Antonioni’s Zabriskie Point (1970) and, most famously, Wim Wenders’s Paris, Texas (1984). Since then, though, Shepard’s career has been marked by inertia or falling off. He has become a legend and an institution; his plays have been revived successfully – most recently in a triumphant Broadway True ...


Peter Campbell, 31 August 1989

A Particular Place 
by Mary Hocking.
Chatto, 216 pp., £12.95, June 1989, 0 7011 3454 2
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The House of Fear, Notes from Down Below 
by Leonora Carrington.
Virago, 216 pp., £10.99, July 1989, 1 85381 048 7
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Painted Lives 
by Max Egremont.
Hamish Hamilton, 205 pp., £11.95, May 1989, 0 241 12706 8
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The Ultimate Good Luck 
by Richard Ford.
Collins Harvill, 201 pp., £11.95, July 1989, 0 00 271853 7
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... to mind. In its echoes The Ultimate Good Luck is both up-to-date and oddly old-fashioned. You want Wim Wenders to make the movie, but you want Bogart and Bacall to be in ...


Iain Sinclair: At Bluewater, 3 January 2002

... shrug and he’s away through the revolving doors. It’s a great cultural event, melancholy as Wim Wenders, watching Petit work a retail outlet. Shopper as aesthete. He tracks, he drifts; he won’t stoop to examine a label or a price tag. The nostrils flare. The stern eyebrows twitch. Some hideous vulgarity, in terms of colour or texture, has been ...

Zeitgeist Man

Jenny Diski: Dennis Hopper, 22 March 2012

Dennis Hopper: The Wild Ride of a Hollywood Rebel 
by Peter Winkler.
Robson, 376 pp., £18.99, November 2011, 978 1 84954 165 7
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... amount of tequila, smoothed over with quantities of grass. After a suicide attempt and rehab, Wim Wenders cast him as an emotionally flat but lethally friendly Tom Ripley in The American Friend in 1977, probably his best movie and performance so far. Two years later, he was back to his old self in real life and on film in Apocalypse Now, as the ...

Pseud’s Corner

John Sutherland, 17 July 1980

by Dan Kavanagh.
Cape, 181 pp., £4.95, July 1980, 0 224 01822 1
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Moscow Gold 
by John Salisbury.
Futura, 320 pp., £1.10, March 1980, 0 7088 1702 5
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The Middle Ground 
by Margaret Drabble.
Weidenfeld, 248 pp., £5.95, June 1980, 0 297 77808 0
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The Boy Who Followed Ripley 
by Patricia Highsmith.
Heinemann, 292 pp., £6.50, April 1980, 0 434 33520 7
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... on a Train. In his adaptation of a Highsmith novel (The American Friend) the German film-maker Wim Wenders recognised the same fraternal and eventually fratricidal consequences in the principals’ criminal compact. The Boy Who Followed Ripley is less a brother than a son, something Ripley’s French wife, the svelte Heloise, will never ...

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