The End of Violence (1997)

The Age of Commercialism

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Wim Wender's The End Of Violence is a relentlessly strange, near inaccessible film about the inner workings of Hollywood, the secret methods the government uses to prevent violent crimes, and several key characters caught up in a series of bizarre events in the L.A. area. Nothing about the film is forthcoming or obvious, you've got to sit there for the two hours, observe what's unfolding in front of you patiently, and only later after some thought, try and determined what it all means, if anything. It's such a free flowing, non specific narrative that you really have no choice but to use the images, impressions and episodic scenarios to make sense of it, as opposed to the story as a cohesive whole, which it's not. Bill Pullman plays Mike Max, a high ranking movie executive, who after experiencing extreme stress stemming from both his difficult wife (a sexy Andie McDowell) and a huge deal he's supposed to close, finds himself making rash decisions, and suddenly on the run from the law. He finds solace with the large, hospitable family of his troupe Mexican gardeners, led by Henry Silva. Parallel to this, we see Ray Bering (Gabriel Byrne), a mysterious government operative, perched high above the Hollywood hills in a secret observatory, tasked with trying out a brand new, clandestine security system which spies on the citizens below. He finds himself distracted when he falls in love with a Mexican girl that his bosses send to help him with paperwork, leading to perhaps hers and his jeopardy, at what his higher ups may see as a breach of security. Rounding out the roster are Pruitt Taylor Vince, Nicole Ari Parker, Rosalind Chao, Michael Massee and Udo Kier. Byrne brings his usual stressed out, bleary sadness to the role, and indeed it's a tragic turn of events which he handles beautifully, going from cold, cranky tech room dweller to warmhearted lover who can make the ultimate sacrifice. Pullman is wonderfully listless, seeming to have almost walked out of a David Lynch film, bringing his sinister yet everyman affability to new heights. It's a film that a lot of people dislike, because in the traditional ways, it really isn't about much of anything that you can pin down, and in the end doesn't answer any questions or come to a cathartic, engraved resolution. But it's this up in the air quality that I really liked, a linear yet airy, fluid chain of events that don't even seem to be really based on a script, they just sort of...happen. Mood and feeling are what this ones about, not logic, theme or structure. Fine by me.

Because my favorite film Of All Time is by Wim Wenders (who created the brilliant "Wings of Desire"), I compare ALL of of his films to that one, whether or not it's fair. Wenders takes HUGE bites out of the philosophy sandwich, and sometimes can't get it all chewed, swallowed, and digested. I liked his early film "Hammett" for its direct story and period feel. "Wings…" took on MAJOR issues, but did not lose sight of the need to focus. "The End of Violence" wants to be a few films, and none are treated to a full exploration. It's part crime drama, part marital drama, part Hollywood biz drama, and part exploration on the subjects of privacy, violence, perception, and secrecy. That's A LOT to pack into one tasty bite, and nothing is fully appreciated. Wim: ease up. Take one subject, make a full film. Then, take another subject, make another full film. You can do it. Again. All of that said, the acting is good, the score is effective, the photography often striking, the characters often interesting, and some scenes are very memorable.

Wim Wenders "The End of Violence" is a film that evokes the director's own work. Also, we are reminded, somewhat, of Antonioni's "Blow Up" because of the elements the director has brought to the movie. At any rate, this is an enigmatic piece of cinema that will divide the audience. Some will love it, some will hate it; there's no two ways about it. It might help to take a second viewing, as things will, no doubt, fall into place.The film focuses on Mike Max, a powerful Hollywood producer, who we meet at the beginning of the story. Mr. Max, like all key players in the industry must be wired to all kinds of devices in order to keep on top of the movies, the trend, and the gossip, associated with making movies. When his wife Page wants to talk to him, she calls him to his poolside perch to announce she is leaving him.The other important character in the film is Ray Bering, a laconic man we watch going to an observatory where he works. There are a lot of monitors in the place, and we realize Ray is spying on what's happening in the outside world, a sort of Big Brother Voyeur, if you will. When Mike Max is kidnapped by two hired assassins and he is taking under some highway overpasses, it registers in one of Ray's monitors, but being so far from the scene, he can't determine who it is. Ray believes that by controlling the street crime, the violence will disappear.Max, who didn't die, is found by a group of Mexican gardeners who take him to the home of one of them without asking him questions. This proves to be Max's salvation because he stays out of harm's way. To make matters worse, the producer was told at the start of the story a lengthy FBI file has been found in his email. Mike Max, who is producing a movie, now in production, can't prevent Page, who realizes her husband might be dead, to take over the film and his business.There are a few other narratives going on, but suffice it to say, they all come together at the end, as we realize what has really happened. Wim Wenders, who made this film much earlier, seems to have pointed out to last year's "Crash", with its multiple stories happening also in Los Angeles. Pascal Rabaud's photography gives a different look to this L.A. in the picture. The music of Ry Cooder, who went to collaborate with Mr. Wenders, gives the film another dimension with its enigmatic score. Nicholas Klein's wrote the screen play with Mr. Wenders.Bill Pullman has great opportunities in the film. This fine actor never ceases to amaze for his range. Gabriel Byrne is seen as Ray Bering, the man overlooking the street crime he wants to eliminate. Traci Lind and Loren Dean are fine as well. Anddie MacDowell appears as Page, the ambitious wife who takes over when her husband disappears. Legendary director Sam Fuller has a small part as Ray's father. The ensemble cast does a wonderful job.Wim Wenders directed with his usual fine style this moody film that is worth a look by any movie fan.

This film seemed to wander about aimlessly, stumbling over obstacles such as a definitive plot. Faced with two choices, falling asleep or dying of boredom I opted for a third choice and changed the channel. I have no idea how it turned out but I doubt the loss of this knowledge will have lasting effects.