THE PALERMO SHOOTING
Germany, 2008, 123 minutes, Colour.
Carmino, Dennis Hopper, Giovanna Mezzogiorno, Lou Reed, Milla Jovovich.
Directed by Wim Wenders.
There was a time when Wenders was considered a cinema great. He seems to have fallen from critical appreciation. A pity, since The Palermo Shooting is an attempt to go back to some of his themes of the past (and the mysteries he explored in Wings of Desire or Paris, Texas) with the perspective of a sixty year old. His early films were ‘road movies’. Now his voyagers travel by plane but, nevertheless, as his new company, ‘New Road Movies’, indicates, he is still interested in the journey.
This is an odyssey on the way to face death – and, in this case, facing death literally, death being personified by Dennis Hopper.
Singer Camino plays Finn, a photographer professor who acts like a rock star (which, in fact, the actor is). He risks elitist art opprobrium by enthusiastically doing popular fashion photography – we see some shoots with a pregnant Milla Jovovich. But Finn is prone to strange dreams and, at forty, wonders what he has done with his life. He also risks death in his car for the sake of a photo – and, at this point, his search becomes more intense.
After the shoot in Palermo (it is not a Mafia shooting but a photo shoot), he stays on, meandering on his odyssey, sleeping, dreaming, looking at the religious imagery, meeting an artist restoring a church painting, ‘The Triumph of Death’. In the meantime, he experiences arrows being fired at him (this is also a Palermo shooting) by a robed and hooded figure. Eventually, he sees Death in a huge archive containing the documents of people’s lives. A long conversation about the meaning of life and death, which Hopper is able to sustain, follows which offers food for reflection.
The film is dedicated to Bergman and Antonioni who died in 2007. His film seems to be a Wenders-like tribute and exploration of themes they valued.
1.Wenders and his career, his past road movies, 20th century meanings, his emergence in the 21st century? In his sixties?
2.The comments on art, museums and elitism compared with popular movements? Echoing Wenders’ career?
3.The scenes in Dusseldorf, Wenders’ own city, the vistas, the Rhine, the parks, the university, the photo shoot and its elaborate setting?
4.The contrast with Palermo, the ancient beauty, religious background, the large harbour, the hotel, the churches, fresco, the pier?
5.The musical score, Carmino as a rock singer? Lou Reed? The songs composed for the film by Nick Cave and other writers? The classical and religious music background?
6.The title, the variety of meanings, the Mafia and Palermo shootings, the arrows being shot at Finn, the photo shoot?
7.The focus on Finn, as German, brought up in England, living in Dusseldorf, his theory about photography, his lecture, the criticism of the student, his comments on surfaces, using digital alterations, editing and creating images? The conflict about classical photography, art, modern photography? His exhibitions, using the two floors of the building? Discussions with his agents? With his lawyer, especially about the divorce? The photo shoot with Milla Jovovich, his zest and activity, the style, talking, her pregnancy, the factory workers? Her wanting a more personal photo shoot? Going to Palermo, the plane ride, his doing the photo shoot of the naked pregnant Jovovich? His camera of twenty years?
8.His voice-over, his reflection on his life, forty years old, meaning? The significance of his having so many dreams? The visualising of the dreams, his not remembering them? Floating, the faces in frames, his being crushed in the room, the appearances of his mother? In real life his wife, her arguments? At forty what had he achieved?
9.His driving, being in the tree from his childhood, meeting the shepherd looking after the sheep and their conversation? The reckless drive, the 360-degree camera, the near-miss and accident? Meeting the old man, his comments, minding the car? Finn going for a drink? Stopping, reflecting, near-death? Lou Reed’s appearance and his advice?
10.The figure of Death, hooded and robed, almost seeing the face, the arrow shot at him, imagination? Breaking the camera, his being hit and falling into the harbour?
11.Palermo, the Festival of the Dead, the artwork of the Triumph of the Dead, the artist in the picture looking out? The face of Death absent?
12.Finn wandering Palermo, sleeping in the street, taking photographs, meeting the veteran photographer who photographed the Mafia? His being drawn, the discussions with Flavia? Their discussions about art, telling her about the arrow, falling into the harbour, the rescue, the ambulance, walking away, going on his bike to her house? Changing, the relationship, going to the church, the contemplation of the fresco and death? The night with her, love or some kind of reawakening?
13.Flavia, her background, her work, sketching Finn, the restoration, her knowledge of the painting, discussion of the themes?
14.Finn’s dream, the entrance to the archive of Death? Dennis Hopper as Death, his suit, the apparition, real? His tone, the American style? Joking and serious?
15.The significance of the conversation with Death, Finn and his being invited to reflect on his life, his awareness of fear, his dreams? Death and his mother’s face appearing? His fear of life? Asking what he could do for Death? Death’s complaint about the increase in the 21st century and the varieties of death? Restoring the camera, wanting the photo taken, his disappearance? Wenders dramatising a literal Near Death experience?
16.Waking, with Flavia? The close-up of the camera and her asking ‘You’? The enigmatic face of Flavia? Life or death?
17.The dedication to Bergman and Antonioni, the influence of their themes and styles?
