Wim Wenders' films exhibit a power of placement. It's a power that is subtle and burns slowly, but, oh man, does it burn so good. Never one to shy away from deeply reflective and minimal journeys, Wenders has an intense interest in his characters - who they are, why they are who they are, where they are going and how they will get there. His films may float along, but they are always defined by poignant character development and gorgeous cinematography. He may have some followers amongst the "mumblecore" crowd, but he saves himself from any true association with the movement (besides his time and placement in cinema history) by recognizing that even meditation and subtly must be made interesting with a strong, permeating context.
Alice in the Cities is a great example of all these things, made immediately apparent by the way the film softly treads around German journalist, Philip Winter. It exudes such a world weary compassion that there is no doubt Wenders held a personal vestige in the character's life.
The film tracks Philip as he travels listlessly towards New York City, taking pictures of American life along the way. Lingering too long over an assignment for his European publishers, Philip finds himself forced to return home. He meets Lisa, a fellow German, and her daughter Alice at the airport while attempting to buy a plane ticket home. Spending the night in a New York hotel, Philip becomes acquainted with Lisa and Alice. The next morning, Philip finds himself left alone with Alice and a note from Lisa, asking him to take care of her daughter. Events gradually lead Philip and Alice to travel back to Germany together, where they go in search of Alice's grandmother.
In all honesty, the plot is just an excuse of happenstance, all in order to put these two characters together and to see what might happen. Philip and Alice's adventure feels like a favorite pair of old shoes - comfortable and well-worn. They quarrel and bicker constantly, but there is always a presiding sense of compassion through a shared uncertainty in their destinations. Philip must deal with the fact that he doesn't know what to do next in life, while Alice must contend with the idea that her mother has abandoned her. They are two characters that are searching, but don't want to deal with the ramifications of finding answers.
The pair's bittersweet relationship gives Alice in the Cities a vitality that engages without trespass or frustration. Alice criticizes Philip, but retains a charming wonderment about his life, especially his lack of direction. Her blunt questions about his parents and his photography force him to accept his current status in life, while the pair's continued journey gives him a good reason to just be. On the other hand, Philip becomes irritated by Alice's constant misdirection (in order to delay having to leave him), but he finds comfort in reassuring her that she's not alone.
Framing New York and Germany in sterling black and white, Alice in the Cities is shot through with small experiences that leave a resounding impact. In these experiences there is a natural blend of humor and poignancy. Scenes such as when Alice wants Philip to tell her a bedtime story, then subsequently falls asleep as he struggles to tell one, as well as when Alice asks a woman if she thinks Philip is her father, leading to Philip and the woman having sex and Alice becoming jealous, illustrates how a movie of little occurrences can be more powerful than one with a centralized structure and huge moments.
In a sense, the characters are simultaneously the most interesting aspect of the film and also simply a part of the scenery. That's the exact point where Wenders skills shine the brightest. He allows the movie to breath, but never to waste away. I feel like so many directors try to make triviality, slow pacing, reflection, meandering and quiet into something that pushes against the normal rigors of narrative films, but they end up tripping over themselves into trite idiosyncrasy and sloppy matter-of-factness. Alice in the Cities is a form of proof that Wenders doesn't take anything for granted. He says, "Hey, check out these characters, they might interest you. Please enjoy their journey", where as some other filmmakers say, "HEY, CHECK OUT HOW FUCKING WEIRD AND INTERESTING THESE CHARACTERS ARE! CHECK OUT HOW LIFE CAN BE SUCH A LISTLESS TRIFLE BUT TOTES PROFOUND AT THE SAME TIME, AHAHAHAHEEEEHAHAHA".
Alice in the Cities is such a relaxed film you could almost imagine Wenders directing it from a beach chair. With aimless characters, low-flow pace, a reflective acoustic guitar score and expressive locations, the film lingers in the best way possible. It allows you to turn off your busy schedule, to turn off the expectations of life, to turn off the constrains of a linear path and just hit the road with two endearing people. To hell with the destination. It seems like such a cliche "enlightened world traveler" sentiment, but Wenders finds a genuine articulation of the idea in Alice in the Cities.
