SPIES!!!!

No Way Out (1987)


No Way Out is a stunning film, aurally, visually, as shown by this publicity photograph above, and the plot is quite mesmerising. The film's storyline is loosely based on the 1948s original - The Big Clock,  however the events have been updated to reflect the political climate in American at the time of shooting; a brief ascension in cold war tensions, and also reflects the modernised mode of warfare; the interface of technology.

Sean Young, Blade Runner (Susan Atwell in the film) compliments the films desaturated late 80s/90s glow so beautifully. Her playful attitude is almost sparkly like champagne or jewellery. It is therefore appropriate that both main characters, Tom Farrell, and US Secretary of Defence David Brice value Susan as a stylish and very necessary accessory. Yet, it is Farrell, who meet Susan at an inaugural ball, and falls for her glittering allure. There begins one of the films storylines, a romance which is youthful and free, as the two characters drive in open top cars and sail in expensive yachts. Tom Farrell (Kevin Kostner) is beautifully laid back and happy when he is with Susan, again shown by the photo above, with Kostner - hands in pocket and a coy smile. This is why the mysterious events which follow have so much tension, as they contrast such a blissful start to a film. (Regardless of the ambiguous starting 5 minutes whereby the premise of the movie is set - secret organisations and spies).

The freedom that exists in Farrell's life is suddenly throttled as he moves into a position under the direction of the mysterious duo of David Brice (Gene Hackman) and Scott Pritchard (Will Patton). It is worrying to see the power of the US army, therefore the 'guardians of the free world', sitting and scheming in an expensive cafe, residing like Gods above hallowed diplomatic ground of Washington DC. Yes, as protectors of democracy it is beguiling to see such drama being so insular, with scandals able to be closeted, and bypass regulated organisations such as the FBI. The white suits of the US navy are interesting costumes as they keep the audience reminded that Farrell has seemingly full allegiance to the US. This allegiance is important when weeding out a mole - a Russian spy - who lurks around the Pentagon. There is an indistinction at times whether this 'Yuri' a computer virus, a secret file or is an actual person; a double agent. One of the most terrifying concepts in times of war, a double agent can infiltrate anywhere and the knowledge of a mole raises the claustrophobic atmosphere of mistrust to levels of suffocation. Speaking on computers, one of the other very interesting concepts from the point of view of a 21st century viewer is that the slowness of the computers is almost farsical compared to today, however the fact that most of the investigatory department are so rapt with their ability despite the length and ardous nature of procedure, that the audience becomes equally excited as well.

As a thriller No Way Out is certainly thrilling, yet at times slightly too obvious however this doesn't detract from the other beauties of the film - the visual juxtaposition between the outside American and the insular world of the pentagon. Chases, that compliment the plot, and the searching of the building by witnesses highlight this feeling. The sharp corporate suits and naval uniform glare in the North American daylight. Atmospheres are important as they act as a curtain to cloud the audience in the uncomfortable feeling of not knowing, and consequently being totally unaware of upcoming twists. Hitchcock mastered this and now his technique has shown to be very influential and successful. The music almost sounds Hitchcockian, with uneasy harmonies, and creeping melodies. It would not be anything if it were not composed in the infamous 1980s fashion, using heavy synths and percussion pads.

 

80s beauty

I didn't expect this film to be so good
*****

Ich bin ein Berliner

Wings of desire (1987)

This is one of the few films that has immediately made an impression on my state of mind. This film is so stunning that words cannot really describe the feelings of awe and adoration for the film and the city and era it portrays. I think the connection comes due being a teenager, therefor having a sense of distance from childhood, yet like the characters in the film, retain an innocence to the routine of adult life. The film is poetic through its script and its lyrical beauty of combining the heavens and mortality in a rich black and white film.

Berlin seems idyllic with its raw creativity and potential. Bombed spaces and disused areas give a beautiful backdrop in which to convey a calm solicitude. Berlin in 1987. The city is alive with rebellious culture due to the political constraints of cold-war society. The wall hinders free movement and is imposing yet the artistic graffiti corrodes the wall as a symbol of authority like a disease. Yet still capitalist West Berlin is separated from the waning communist east.

Bruno Ganz (Hitler in Downfall) creates a character who is extremely complex in beliefs and attitude towards life and whether his position as an immortal angel constrains or enriches his resolve. With a teddy bear-esque enthusiasm he surveys the city and gives a warm touch to those in need. In my mind he has a unconventional handsomeness which elevates him to a position of strength and legitimacy. His long rich cotton winter coat (the preferred outfit of the angels) gives a sense of anonymity as they blend into the hollowed out Berlin.

The film is extremely musical although its not its ultimate priority. As previously described, the poetic script could be seen as spoken word, and for once, the German language is as flowing and dulcet as french, and has a melodic intonation as varied as English is perceived to have. More obviously the actual soundtrack feels so perfect its holy.

Nick Cave and the Bad Seeds feature as themselves in a scene where the two  lovers (Bruno Ganz as the angel Damiel and Solvieg Donmartin as Marion) meander through the amazingly 80s crowd at the amazingly raw concert. The live energy delivered by Nick Cave is electrifying despite being shot in solemn black and white. Another scene where the two characters are transposed onto a idea of heaven makes me think of a Kate Bush music video.

After watching the behind the scenes, it has exposed me to an alternative kind of creativity. Director Wim Wenders prompted the idea that this story was thought up after a near death experience involving an overdose whilst frivolously experimented with hash-brownies.

The correlation in a way gives some further depth to the story to know it is influenced by real circumstances.

This modern fairytale is lusciously symbolic and this ensures that repeated viewings is required - which is certainly a bonus. Moreover, the film acts as a time capsule for the underground rock scene of Berlin, which luckily has of yet escaped being affected by cheesy nostalgia.

Wings of Desire really is too divine to put into words - when watching, if in the right mood, it almost becomes a numinous experience.