For my 250th blogpost here, I wanted to review and write about something that felt as monumental as reaching this number of articles. Wim Wender’s 1991 globe-spanning road-trip, mystery, romance etc.. felt like the appropriate choice. At nearly five hours long, I’ll be reviewing the Director’s Cut version of the film, and it was a feat simply to find the time to sit through the road trip epic. I’ve only seen one other film from Wenders, “Wings of Desire”, which many call his Masterpiece, and you can read my thoughts on that film here on the blog as well; (https://spacecortezwrites.com/2018/08/24/old-school-review-wings-of-desire-1987/). If I were to try to describe all of the story beats, all of the character moments, or even the bulk of the visual/audial hallucinatory imagery that takes up a considerable volume of the last hour of the film- then this review would be nearing the 8,000-10,000 word mark with ease. Instead, I’ll try to give an authentic sense of the film’s perceived meaning and chatter along about the aspects I thought were especially poignant or prescient.
Written by Peter Carey and Wim Wenders, “Until The End of The World” was based off of an idea conjured up by Wenders and Solveig Dommartin, who stars as Claire Tourneur, the lead of the film. “Until The End of The World” is a hard film to narrow down to any one genre other than that of journey and discovery. The film mainly follows Claire on a journey that spans the world, however she herself is chasing another individual, Trevor McPhee (William Hurt), an Australian with an American accent that she bumps into in France. However, there are a few key details to digest first before getting into that. While the film was released in 1991, it is set in 1999, aka “The Future“. In this version of the twentieth century’s final year an Indian Satellite outfitted with Nuclear weapons has spiraled out of control and the unknown impact of this slowly falling doomsday device has the world on edge. Millions of people are constantly migrating away from the next best guess on wherever it may land, but Claire could care less. We begin the film with her in an eclectic Venetian Party as she tries to forget about Gene (Sam Neill) her former boyfriend, an English Author living with her in Paris. Gene’s infidelity drove Claire away, and even though he loves her, she quickly falls for Trevor after a few encounters in Europe. On her way back north to Paris Claire gets in a car wreck with a couple of amicable French Bank Robbers, namely Chico Rémy (Chick Ortega) who becomes fast friends with Claire as she allows them a ride for awhile. There’s a huge bag of cash involved but getting bogged down in the details won’t help in analyzing a movie that’s almost five hours long. Anyways, on the road to Paris she meets Trevor, who’s in dire need of transport as he’s also being pursued by another Australian in a trenchcoat, but he’s armed. When she finally gets back to Paris, Trevor departs, and she returns to Gene’s apartment. After Claire showcases the huge bag of stolen money to Gene, she realizes that Trevor has stolen some of the money. She vows to track down Trevor, she says it’s to retrieve what’s been taken from her- but as we hear in the plentiful narration, Claire couldn’t really even articulate her reasoning for herself other than a sensation of purpose in doing so. Meanwhile, Gene’s been writing a new Novel with Claire as the protagonist, and as such, he too follows her across the world. In fact, the narration within the film is all from Sam Neill’s Gene, by the end we realize that the narration we’ve been hearing for roughly four hours, is from Gene’s second book he starts on this journey when he has a profound realization about Claire, humanity, and life in general. There’s a lot of chasing, following, love loss, forlorn nostalgia, and newfound friendships in this film. In truth the first half of the film is Claire following Trevor around the world from Paris to Berlin, where we meet a German Detective (Rüdiger Vogler) that Claire hires to track down Trevor, to Moscow, Beijing, Tokyo, San Francisco, and then to central Australia. There’s A LOT that happens in that time. Relationships between those involved in the Love Triangle evolve, we learn more about Trevor, why he’s being pursued, what his personal mission is, and that his real name is Sam Farber and that he’s the son of brilliant scientist Henry Farber (Max von Sydow). *I must stop for a moment to acknowledge the nod of cinematic respect for Yasujiro Ozu’s work with the short but notable inclusion of the legendary actor and longtime collaborator of Ozu’s, Chishû Ryû- seeing him appear in this film even for only but a moment was like seeing an old friend again, and I personally adored that moment.*
However, it is the second half of this film that captured my attention more. The whole of the second half of the film is set in Australia. The characters discover that the U.S. Government actually did nuke the Indian Satellite, resulting in an planet-wide N.E.M.P. (or nuclear electromagnetic pulse) that shuddered all non-shielded electronics. People everywhere are unsure of the devastation, without a connection to the world, they fear for their fellow humans all over the planet, not knowing if the atomic winds will turn in their direction. The whole gang of characters, Claire, Gene, Sam, Detective Winter, and even Chico, gather at the home and laboratory of Dr. Henry Farber. They all engage in pleasantries and we meet Sam’s mother Edith Farber (Jeanne Moreau) as well, the person he’s traveled the world over for, just to help her see once more. They spend what seems like weeks or months there trying to get the science of the project down as they ignore the greater significance of world events and look inward on their little project, which brilliantly foreshadows the next stage of events. On December 31st 1999, the group reestablishes radio contact and realizes that the world has been spared, the nuclear explosion and fallout was entirely contained to space. They also had some successes in transmitting images and video into Edith’s brain and visual cortex with the help of Claire, a natural at transmitting brainwaves apparently. However, all of this exhaustive testing has wrought too much from Edith and she passes with the twentieth century. After the news that the Earth is indeed intact, each character except for Gene, Claire, Henry, and Sam leave for home which sets the tone down to a more personal one. Sam’s father Henry may be a genius- but he’s as obsessive as his son in his pursuits and after Edith’s death he moved towards a new goal; transmitting people’s dreams into digital images and video. Henry thinks it will win him a Nobel Prize, but the truth is he needed to make the device, for his dreams where the only place that Edith lived for him, or at least, his memory of her. After some trial and error the headset and accompanying monitor reveal their dreams to both Sam and Claire and it immediately consumes their interests to an unhealthy level. Neither or them can take their eyes off of their monitors as they stumble through the world and ignore everything around them. Sound familiar? Obsession with screens and the nostalgia of the mind aren’t the only things Wim Wenders correctly predicted with this film. The only reason Detective Winter could track down Sam earlier in the film was with a rudimentary search engine that combs the digital world for traces of the footprint you’ve left through credit card uses among other variables. The film also had video-messaging, VR-like headsets, and devices comparable to large Ipads. I’d also like to take some time to mention that the audio in the film was something that was clearly, heavily, considered. Throughout the film there are a litany of songs used that not only reiterate themes resonant with the story, there’s also a huge amount of atmospheric tracks in the soundtrack that are big players in the overall texture of the film.
“Until The End of The World” is a fascinating experiment in cinema’s history. There are parts of the film that I found quite charming, other sequences felt a bit too elongated for my taste however. There are stretches of the runtime that I found to be too meandering for me personally, but there’s enough unique choices to keep my own attention. The cast itself is certainly a major factor in choosing to check this one out, the performances were compelling, though I had a tough time understanding or relating to Claire and her decision making for most of the film. It was, however, quite nice to watch a movie with Max von Sydow in it the day after his passing, obviously he was a gigantic player in cinema’s history and he changed it for the better. This one was a very mixed-bag in my opinion, it was worth a watch to sate my own curiosity, but not everyone will appreciate this one though I’m afraid. “Until The End of The World” is just too long, too vague, and without a coherent sense of direction. Watch at your own risk.
Final Score: 11 Countries