As a child, I had a strong belief in guardian angels. This became especially prominent after one night when I thought I saw a ghost sitting next to my bed. The description I gave to my parents vaguely aligned with that of my dad's brother, Stephen, who died at the age of eight. My dad floated two possibilities about the sighting: (1) I was having a dream and thought it was real, or (2) Stephen was watching over me. I believe the former now, but the latter gave me great comfort. This childhood belief and sense of comfort reemerged while watching Wim Wenders' West German celestial romance Wings of Desire. While my response to the film was immensely personal, the film's highly revered place in the cinematic canon affirms that it's a pretty universally engrossing and thought-provoking experience.
The film's greatest strength is its patience. It is a romance, but it takes its time before introducing the love story and only revisits it sporadically throughout, with the two central lovers sharing very little screentime together. It is a color film eventually, but apart from a few brief snatches of color, the first hour and a half are shot in gorgeous black and white by veteran cinematographer Henri Alekan. All the necessary information about how angels interact with the human world and vice versa is revealed, but it is always revealed organically, never with rushed exposition. While much of the action revolves around angel Damiel (played by Bruno Ganz, probably best known for his turn as Hitler in Downfall and the great many YouTube clips the performance spawned), the central role of the film belongs to West Berlin, as Wenders lets the camera float freely around the city, capturing its diverse inhabitants in the midst of their daily lives. One bit of information revealed early on is that these peoples' thoughts can be heard by angels nearby, and the angels may offer a comforting hand on their shoulder. Wenders revels in this connection between and angels and humans, devoting many scenes, including this bravura sequence in a library, to simply capturing it in passing. The film also intermittently follows Peter Falk playing himself during a film shoot in Berlin and the sideplot pays off tremendously in a touching and hilarious scene.
