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<\/p>\nWenders apparently working without a script, just putting two guys together and following them around – a good idea, turns out. <\/p>\n
Rudiger* Vogler isn’t a writer\/photographer this time but a traveling film-projector maintainer. He picks up rider Hanns Zischler after watching him roar his Volkswagen into a river, and they barely speak, just proceed along the route of small movie theaters in western East Germany.<\/p>\n
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One night they’re woken by a guy despondent over his wife’s suicide – second<\/a> Wenders in a row where a suicide causes a mood shift. Hanns walks off to the town where his father lives, visits\/harasses him at his newspaper office. After this cathartic visit he thinks Rudiger should also have a cathartic visit home, so they borrow a motorbike and sidecar. After all the not-talking, they do finally get drunkenly combative and introspective, but part on pretty good terms.<\/p>\n Hanns and the sad man in the jukebox-equipped back of the truck:<\/em> Commentary says the photography was an homage to Walker Evans, the photographer who also inspired Upland Stories<\/em>. I’ve seen the rider in a few things, including Clouds of Sils Maria<\/a><\/em> and Dr. M<\/a><\/em>. Man who lost his wife was in a bunch of Fassbinders – he’s the landlord in Fear Eats the Soul<\/em>. Alice’s mom (of the Cities<\/a>) works at a theater in one town, a Lang Mabuse actor plays the rider’s dad.<\/p>\n
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