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Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. Explore the Home Gift Guide. Not Enabled Word Wise: Not Enabled Screen Reader: Enabled Amazon Best Sellers Rank: Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. A challenge in the cinematography was posed by using the camera for the perception of angels, as angels are not restrained in how far they can observe, in any dimension.

Filming took place at actual locations in West Berlin , such as Hans Scharoun 's Berlin State Library , [25] though the Wall was recreated in studio, [25] due to shooting the true Wall being outlawed.

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Some pieces of the recreation were made from inexpensive wood, with one being destroyed by rain during production. With little idea of how to portray the angels and no costume design, Wenders said the filmmakers consulted artwork, experimented, and found the idea of armor during production, and told U. Although the circus scenes required extensive and risky acrobatics, Dommartin was able to learn the trapeze and rope moves in a mere eight weeks, and did all the work herself, without a stunt double.

Handke believed it bordered on a silent film , aside from some music, and lacked much of the notes he had sent to Wenders during filming. Handke thus proposed adding his writings via voice-over. Much of this was improvised, though Wenders still supervised by telephone.

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With the filming performed in lengthy takes , and the camera used as "the eye of the angel", much of the movement was conveyed in the camerawork rather than in editing effects. Seeing the angels were discontent, he wrote a different score employing a choir, voices and whistling.

The concept of angels, spirits or ghosts who help humans on Earth had been common in cinema, from Here Comes Mr. Powell and Pressburger 's A Matter of Life and Death presents an early example of spirits being jealous of the lives of humans. God is not mentioned in the film, [34] and is only referred to in the sequel Faraway, So Close! Overstreet characterized them as "whimsical metaphors, characters who have lost the joy of sensual human experience". In one scene, Damiel and Cassiel meet to share stories in their observations, with their function revealed to be one of preserving the past.

The closing titles state: Ozu had taught Wenders order; Truffaut the observation of people, especially youth; [43] and Tarkovsky, a less clear influence on Wenders, consideration of morality and beauty. Academic Laura Marcus believed a connection between cinema and print is also established in the angels' affinity for libraries, as Wenders portrays the library as a tool of "memory, and public space", making it a miraculous place.

The film has also been read as a call for German reunification , which followed in Essayists David Caldwell and Paul Rea saw it as presenting a series of two opposites: East and West, angel and human, male and female. Researcher Helen Stoddart, in discussing the depiction of the circus and trapeze artist Marion in particular, submitted that Marion is the classic circus character, creating an image of danger and then potential.

Stoddart argued that Homer and Marion may find the future in what remains of history found in Berlin. British Film Institute writer Leigh Singer assessed the cinematic style as "bold" and artistic in its use of colour, "existential voiceover" and "languorous pacing". In Singer's estimation, the cinematography is able to communicate the angels' "invisible intimacy and empathy".

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Kilbourn judged the style as opposed to realism and "emphatically German" in looking at particular situations of human life. As Singer observed, Wings of Desire serves as a "Symphony of a city" in capturing a "wintry, pre-unification Berlin". Detweiler found the visualization of the angels "so cool and stylish". Music is used in differing ways throughout the story.

Musicologist Annette Davison argued Knieper's score in angel scenes is artistic, with elements of Eastern European and Orthodox Christian music, and Petitgand's music displays a "slippery" harmony frequently heard in circus entertainment. Davison submitted this symbolizes "utopian promise of the sensual mortal world", and that lyrics echo the plot: Cave's " The Carny " suggests a disappearing carnival worker as the Circus Alekan closes, and " From Her to Eternity " suggests a desire for a woman's love. The film debuted at the Cannes Film Festival on 17 May The Wim Wenders Foundation produced a digital 4K restoration using the original black-and-white and colour film stock.

This new version of the film premiered on 16 February during the 68th Berlin International Film Festival at Kino International , as part of the "Berlinale Classics" programme. It was not nominated, with the Academy traditionally not recognizing West German cinema. In , Wenders made a sequel, Faraway, So Close!

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This particular adaptation, which used film footage of the city and stories from the community, was adapted and directed by Alan Lyddiard. Wenders' story was also an influence on the play Angels in America by Tony Kushner , in which angels intermingle with troubled mortals. From Wikipedia, the free encyclopedia. This article is about the film. For the Jennifer Rush album, see Wings of Desire album. For the racehorse, see Wings of Desire horse. Wim Wenders Anatole Dauman. Berlin State Library and other spots around West Berlin were filming locations.

Lexikon des internationalen Films in German. Archived from the original on 10 October Retrieved 5 July British Board of Film Classification.

Archived from the original on 14 August Retrieved 13 August Archived from the original on 17 March The Angels Among Us Blu-ray. Archived from the original on 7 August Der Spiegel in German. Archived from the original on 13 April Retrieved 12 September Archived from the original on 1 June Archived from the original on 10 March Archived from the original on 7 April Retrieved 3 April Die vielen Optionen des Peter Falk". Archived from the original on 21 October The New York Times.

Archived from the original on 10 September Retrieved 4 July Archived from the original on 3 September Archived from the original on 12 December Retrieved 19 December Berlin International Film Festival. Archived from the original on 2 April Retrieved 1 April Archived from the original on 19 September Retrieved 9 July JP's Box-Office in French.

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Archived from the original on 28 August Retrieved 1 July Archived from the original on 1 October Retrieved 30 September Archived from the original on 10 May They Shoot Pictures, Don't They? Archived from the original on The Los Angeles Times. Archived from the original on 8 June Retrieved 21 August Archived from the original on 26 June Archived from the original on 22 July Archived from the original on 11 August Retrieved 10 September Archived from the original on 6 September Les Inrockuptibles in French.

Archived from the original on 9 June Le Monde in French. Der Tagesspiegel in German. Archived from the original on 4 September Archived from the original on 2 July Retrieved 2 July Archived PDF from the original on 26 November Retrieved 2 July — via University of Southern California.

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British Academy of Film and Television Arts. Archived from the original on 23 August