Wings of Desire

Wings of Desire

We must decide to be human. In the People’s Square, before a great crowd of witnesses and in representing them, we must make the decision to be wholly human. Wim Wenders’ wonderful and dreamlike 1987 fantasy, Der Himmel über Berlin, portrays two angels observing the people of a divided Berlin.  

As the camera floats freely above East and West Berlin, Wenders allows the angels to listen in on the thoughts of those around them, eavesdropping on the hidden conversations we all hold with ourselves. This soundtrack creates a kind of music all its own, as the German and French and English roll on in layers over the rich black and white imagery. 

The angels Damiel and Cassiel report back to each other their observations and interactions with those around them. Damiel, enthralled with the humanness of existence, begins to consider exchanging his spiritual life for mortal flesh. Cassiel, stark and reserved, urges his compatriot to hold himself in angelic ranks. Yet two mortals speak more compellingly to Damiel’s longing than do Cassiel’s pleas. Marion, a circus acrobat, and Peter Falk, in Berlin for a film shoot, both ignite Damiel’s fascination and, more importantly, his imagination.  

With that, he steps into mortal shoes. Wenders shifts from black and white to color film, from one side of the Wall to the other, and vibrant tones leap off the screen. The effect is not unlike a child opening a box of Crayolas and transforming a blank page into a canvas of brilliant color. A refreshing, new day dawns as Damiel seeks out both Falk and Marion, embarking on a journey of wholeness, in the unification of spirit and flesh. And Cassiel, still in his black and white, now watches him. 

—Edward Allie (2011)

  1. Directed by: Wim Wenders
  2. Produced by:
  3. Written by: Peter Handkie Wim Wenders
  4. Music by: Jürgen Knieper
  5. Cinematography by: Henri Alekan
  6. Editing by: Peter Przygodda
  7. Release Date: 1987
  8. Running Time: 128
  9. Language: German, English, French

Arts & Faith Lists:

2005 Top 100 — #30

2006 Top 100 — #28

2010 Top 100 — #12

2011 Top 100 — #67

2020 Top 100 — #47

Similar Posts

  • The Phantom Carriage

    In The Phantom Carriage, director Victor Sjöström plays David Holm, a heartless unrepentant rascal who receives two summons one New Year’s midnight. The first is from a dying nun who showed him the most undeserved act of mercy he ever received; the second is from the phantom who drives Death’s titular carriage. As the film shows…

  • Koyaanisqatsi

    If, as they say, writing about music is like dancing about architecture, then how does one describe a film like Koyaanisqatsi (1983), which has no actors, no dialogue, and no plot, but consists instead of nothing but music and images (some of which, incidentally, do happen to revolve around architecture)? Well, we can begin by looking at…

  • Places in the Heart

    Places in the Heart (1984), written and directed by Robert Benton, won two Academy Awards—Best Original Screenplay and Best Actress for Sally Field. The film also received nominations for Best Film, Best Director, Best Supporting Actress (Lindsay Crouse), Best Supporting Actor (John Malkovich), and Best Costume Design. Considering the flashy blockbusters that often win big prizes…

  • Munyurangabo

    We’ve seen some powerful, horrifying films about the war in Rwanda. But we’ve never seen anything like this—a film made with the help of Rwandans, informed by their own experiences, and performed in their own language. Sangwa’s a prodigal son of the Hutu. He’s come back to the family farm after three years in the…

  • Won’t You Be My Neighbor?

    It seems hardly coincidental that two films on the life of children’s television host and ordained Presbyterian minister Fred Rogers were released in as many years.  A Beautiful Day in the Neighborhood (2019), a feature starring Tom Hanks and directed by Marielle Heller, was nominated for the Top 100 but didn’t make the cut.  Morgan Neville’s 2018 documentary, Won’t…

  • The Son

    It’s tricky to review The Son without raising viewers’ expectations. To rave about the film’s artistry might create a certain anticipation of being dazzled. But, “the truth must dazzle gradually,” and The Son — like all of the Dardenne Brothers’ films — is the antithesis of what most moviegoers consider “entertainment.” It is, rather, a story that unfolds without…