I really like "Der Himmel über Berlin", so I was delighted to see Bruno Ganz, Peter Falk, Otto Sander and Solveig Dommartin back for a second film directed by Wim Wenders and written by Wenders and Reitinger again as well. Sadly, everybody from this quartet has a significantly smaller role except (the recently deceased Sander who plays the lead character this time, but is my least favorite of them. Instead, they added rising star Nastassja Kinski (daughter to Klaus), Willem Dafoe (who plays a mysterious character as usual that you cannot summarize with either "good" or "bad"), Mikhail Gorbachev (in small cameo) and German acting legend Heinz Rühmann (already over 90, in his final role).There are some similarities compared to the film. A big part of it is in black and white again and it changes to color after Sander's character becomes human. Sadly, the strength of the first film, the whole poetic approach to life and atmosphere was sacrificed here a bit for stories on homelessness, alcoholism and a major crime-related plot. At least, Peter Falk brought some comedic delight again when he pretends to check a location for an upcoming Columbo movie. For me, a major reason why I rated this film lower than its prequel is because I also prefer Ganz a lot over Sander. Apart from that, the ending was slightly confusing and I felt they could have cut out at least 15-20 minutes and not hurt the film. The German Film Festival, Cannes Palme d'Or and Golden Globe Awards probably disagree as they gave this movie some recognition.All in all, I would say this is still a fairly good movie on its own, even if it hardly never reached the greatness from the first. Fans of Wenders' "Alice in den Städten" could also give this a go.

"Faraway, So Close!" is a very confusing movie if one has either not seen its predecessor, "Wings of Desire," or knows something about that movie. I was in that state when I first viewed "Faraway, So Close!" and could only think that I was watching an artsy movie. Fortunately, the movie is now available on DVD in a widescreen anamorphic version with the director's commentary of Wim Wenders. The movie began in black and white and seemed to morph every now and then into color that had me wondering whether or not I had a defective DVD. Eventually, I figured out, as the movie was running, that this was intentional with the black and white sequences depicting the angel(s) observing humans. In the meantime, I managed to miss much of the subtlties of the movie that were only revealed from the lips of Wim Wenders in his running audio commentary. With a backdrop of Berlin, the movie was filmed in German. Fortunately, there are English subtitles and it is sometimes odd when the dialog actually breaks into English. As Wenders points out, this was his third movie with Nastassja Kinski that began with her very first movie in 1975, "The Wrong Movement," and was followed by the 1984 "Paris, Texas." Spaced approximately 10 years apart and with "Faraway, So Close" in 1993, Wenders mentioned that it is now time to do a fourth picture with Nastassja. One can only hope that it materializes.The basic story has to do with the protagonist as Cassiel, the actor Otto Sander, taking human form from his previous angelic state in which he can only observe and sympathize. An event propels his wishful transformation into the human dilemma. Wim Wenders said that this film was a continuation of "Wings of Desire" and not a sequel. It is probably splitting hairs because I do not readily understand the difference, if any. Nastassja Kinski has the major supporting role of Raphaela and is always shown in black and white. Raphaela becomes Cassiel's, always present, angel. It is a very difficult role to pull off because Nastassja only has her voice (in German), her facial expressions, her hands, and her body movements to bring her character to life. Her on screen presence appears natural and effortless. It is nothing less than a superb performance of a first rate actress. But it is up to Otto Sander to carry the movie. The supporting cast is first rate.My third viewing of the film was an experience. 146 minutes passes relatively quickly. The film is dripping with intensity and is larger than life. Wim Wenders' vision and its execution is astonishing and will reverberate through time because it captures the essence of life and death. It is a movie director's awesome tour de force.

To enjoy this movie, view it as a poem. It relies on the language of the heart and asks its viewers to see it as it truly is, through the same myopic eyes to try and understand a dream. There is the duality of existence we all face, mirrored through the experience of an angel who falls to earth, who falls precisely because he can no longer contain himself within the restrictions of his identity. The central metaphor of this movie is about the passion, truth and love we are all promised, should we choose to live life as we were meant. There are the difficulties of trying to live out our singular purpose, the disappointments of relation, the trials of being part of something greater than self. In all these, there is also the beauty inherent, and ultimate understanding. The triumph of beautiful release, when we realise that all that has gone before is both behind us and a part of what we are, and the relief of becoming an individual, and understanding and embracing aspirations gained and lost.

This is a truly unique film. It was shot beautifully. The actors, music, location et.al. was superbly well chosen. This film is pure poetry in motion, language, acting, script, etc. It has the uniqueness of providing an incredibly positive view/side of the fact of being a human being. I have made all the people I know, watch it and everybody seems to agree with me. Thank you, Mr. Wenders for giving us a beautiful and meaningful film, that outshines most by the mere insinuation that life is beautiful. It is a job well done. Thank you, again. Joanne Tijerino