Henri Alékan Movies

Wim Wenders revisits his masterpiece Der Himmel Uber Berlin in this film which picks up several years after the original left off. Cassiel (Otto Sander) is an angel who watches over the lives of the people of recently reunified Berlin with Raphaella (Nastassja Kinski). Damiel (Bruno Ganz), Cassiel's former partner who opted to return to the land of the living in the first film, now lives happily as a pizza chef with the woman he loved and married, circus performer Marion (Solveig Dommartin). While angels are forbidden to directly intervene in the lives of humans, Cassiel impulsively breaks this rule when a little girl falls from the balcony of an apartment block, and he swoops down to catch her. Suddenly made flesh and blood, Cassiel has earned the enmity of Emit Flesti (Willem Dafoe), a sort of overseer of the angels on the physical plane. Emit makes it his business to make things difficult for Cassiel now that he's living among the humans, and after a period of alcoholism and imprisonment, Cassiel finds himself working for gangster Tony Baker (Horst Buchholz), who distributes weapons and pornography on the black market. However, Cassiel has a change of heart and decides to destroy Tony's stockpile in a bid to make the world a better place. Peter Falk, who played himself in Der Himmel Uber Berlin, makes a return appearance when a gallery shows the sketches that he was making in the first film; rock singer Lou Reed and former Soviet president Mikhail Gorbachev also appear as themselves. ~ Mark Deming, Rovi

In modern-day Paris, a cabalist known as the Maharal has created a golem, an artificial being constructed of earth and clay, infused with spirit through the recitation of a special formula. The legendary being he brings to life is known in this instance as "The Spirit of Exile," and the magician's goal in creating her was to create a protector for Jews in need of one. In this movie, the golem is motivated to assist numerous people whose lives are marked by tragedy. In the main story, she must try to help Shemesh, a woman whose many troubles cause her to resemble the Biblical character of Job. She has been evicted from her home after her husband and sons die, and she and her daughter-in-law must find some means for surviving their difficult situation. ~ Clarke Fountain, Rovi

Damiel (Bruno Ganz) and Cassiel (Otto Sander) are angels who watch over the city of Berlin. They don't have harps or wings (well, they usually don't have wings) and they prefer overcoats to gossamer gowns. But they can travel unseen through the city, listening to people's thoughts, watching their actions and studying their lives. While they can make their presence felt in small ways, only children and other angels can see them. They spend their days serenely observing, unable to interact with people, and they feel neither pain nor joy. One day, Damiel finds his way into a circus and sees Marion (Solveig Dommartin), a high-wire artist, practicing her act; he is immediately smitten. After the owners of the circus tell the company that the show is out of money and must disband, Marion sinks into a funk, shuffling back to her trailer to ponder what to do next. As he watches her, Damiel makes a decision: he wants to be human, and he wants to be with Marion, to lift her spirits and, if need be, to share her pain. Wim Wenders' Wings of Desire is a remarkable modern fairy tale about the nature of being alive. The angels witness the gamut of human emotions, and they experience the luxury of simple pleasures (even a cup of coffee and a cigarette) as ones who've never known them. From the angels' viewpoint, Berlin is seen in gorgeous black-and-white -- strikingly beautiful but unreal; when they join the humans, the image shifts to rough but natural-looking color, and the waltz-like grace of the angels' drift through the city changes to a harsher rhythm. Peter Falk appears as himself, revealing a secret that we may not have known about the man who played Columbo, and there's also a brief but powerful appearance by Nick Cave & the Bad Seeds. Wings of Desire hinges on the intangible and elusive, and it builds something beautiful from those qualities. ~ Mark Deming, Rovi

In this experimental film that deals metaphorically with Arab-Jewish relations in the Middle East, left-leaning director Amos Gitai uses Biblical history to comment on the current situation in Israel and its vicinity. This story deals in part with the Jewess Esther and how she managed to save her people from extermination after she became the wife of the king of Persia. But the setting is a slum near Haifa and the ancient city of Acre. As the mummers walk through their parts with lines taken from the scriptures, the camera moves slowly through scenes or stops entirely. Sounds of the modern world start to intrude on the ancient setting, and in the final sequences of the film, the actors now wear modern clothes as they walk through the streets of Acre, each telling their own personal history -- and a parallel emerges between the ancient story of Esther saving the Jews and the modern Middle East. The cast is comprised of both Arab and Jewish actors. ~ Eleanor Mannikka, Rovi

This story about a wounded American gangster seeking refuge in the country villa of a blind, sophisticated, and aging actor has an uneven script that alternates sharp dialogue with slow segments. The plot thickens when the actor's nephew arrives with his new love interest, and she is quite taken with the gangster. Jealous of his brutish rival, the young nephew plans to get back at the American in any way he can. ~ Eleanor Mannikka, Rovi

Wim Wenders' The State of Things (Der Stand der Dinge) was financed by one of the director's chief mentors, Francis Ford Coppola. This highly autobiographical work concerns a shoestring movie producer and his ragtag crew. Stranded in the outer reaches of Portugal, the director doesn't even have any film in his camera. There's nothing left to do but scare up a potential backer--preferably one of those rich, movie-mad Americans. In illustrating the plight of the fictional filmmakers, Wenders strikes a blow on behalf of the homeless and disenfranchised everywhere; it is also an a clef recreation of the difficulties faced by the director during production of his first American film Hammett (also made under the auspices of Coppola). ~ Hal Erickson, Rovi

On Top of the Whale, one of the best-known films by acclaimed director Raul Ruiz, is an allegorical exploration of language and the conflicts between cultures. The setting is the world of the near future; the film begins in Holland, which, like several other European nations, has become a communist republic. An anthropologist, specializing in the study of primitive tribes, is introduced by his wife to the powerful millionaire Narcisso Cambos. Narcisso invites them to stay at his estate in Patagonia, which he claims is also home to the last two surviving members of an ancient Indian tribe, generally thought extinct. The anthropologist accepts and begins to study the tribesmen -- an inseparable pair named Adam and Eden. He becomes consumed by the mysteries of their culture, their behavior, and especially their language, which appears to consist of only 60 words. Meanwhile, the possible revival of a former relationship between his wife and Narcisso threatens his marriage. Though occasionally punctuated by monochrome cinematography and surrealistic imagery, On Top of the Whale is more linear than much of Ruiz's later work, relying on a sparse directness that gives the film a provocative, fable-like ambiguity. ~ Judd Blaise, Rovi

When several Americans start out on their trek through a large national park, they have no idea that their lack of expertise will get them hopelessly lost -- and facing starvation, they have some grim alternatives available if they want to survive. ~ Eleanor Mannikka, Rovi

Based on a novel by Barry England, Joseph Losey's Figures in a Landscape stars Robert Shaw and Malcolm McDowell as two escaped prisoners in an unidentified totalitarian country. MacConnachie (Shaw) and Ansell (McDowell) spend most of their time on the run from an omnipresent police helicopter. Along the way, the two men are helped by "the people," who are as contemptuous of the powers that be as MacConnachie and Ansell. $Pamela Brown co-stars as an enigmatic widow. ~ Hal Erickson, Rovi

This romantic tragedy concerns the Archduke Rudolf (Omar Sharif) and his mistress, the Baroness Maria Vetsera (Catherine Deneuve), and their untimely demise at Mayerling, the sight of the Austrian royal family's hunting lodge. Rudolf verbally spars with his father Emperor Franz-Josef (James Mason) about wanting to implement progressive policies for his country. Ava Gardner plays his mother Empress Elizabeth. Rudolf also contends with the fallout from a loveless marriage with Princess Stephanie (Andrea Parisy). Respectful of the centuries-old Hapsburg family rule over Austria, Rudolf soon feels he is a man born at the wrong time in a country that will not realize the need for social reform. The Prince of Wales (James Robertson-Justice), later to become Britain's King Edward VII, provides the only comic relief with his dialogue. The deaths remain a mystery, but director Terence Young suggests the two lovers made a suicide pact when they decided they could not live in a world without love where the prospects for peace were dubious at best. ~ Dan Pavlides, Rovi

This exciting adventure provides an interesting look into the manufacture and trafficking of opium and heroin. The original story was written by Ian Fleming who died shortly before he was to pen the screenplay. The story is set in Iran and opens as an American undercover agent is murdered in the desert while attempting to buy opium. Two more agents are sent to Teheran to investigate the death and stop the powerful drug ring behind the smuggling. Once there, they run into the dead agent's girlfriend, who soon after suddenly disappears. Unfortunately, they cannot find her and so focus on their other job. To figure out where the drugs are going (and hopefully get a lead on the missing girl) they steal a bunch of opium and lace it with radioactive tracers so they can track it with Geiger counters. They then follow the drugs as they are slowly dispersed throughout Europe. After many twists, turns and blind alleys, the agents eventually succeed. This film was originally made for TV and contains cameos from many stars who worked for little pay because they strongly supported its anti-drug message. Those stars include Grace Kelly (who introduces the film) Omar Sharif, E.G. Marshall, Eli Wallach, Marcello Mastrioanni, and many more. ~ Sandra Brennan, Rovi