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Science fiction films were all the rage in the late 1980s. Films like James Cameron’s “Aliens”, John McTiernan’s “Predator” and Paul Verhoeven’s “RoboCop” thrilled audiences with clever premises and breathtaking sets, leaving Hollywood studios clamoring for more of the same. They got exactly what they wanted. But while there were certainly other classics that came out of this era (e.g. Cameron’s “Terminator 2: Judgment Day”, Verhoeven’s “Total Recall” and That of Marco Brambilla), science fiction films without, according to Clarence Boddicker, cutting-edge bang-bangs were rare.
German filmmaker Wim Wenders sought to change that in 1991 with his futuristic globe-trotting epic “Until the End of the World.” This film generated considerable enthusiasm given that the director’s two previous films, “Paris, Texas” and “Wings of Desire”, ranked among the best of the 1980s. Wenders had an appealing sense of the fantastical and bizarre. At their best, Wenders’ films are deeply humanistic and hauntingly otherworldly (especially in the case of “Wings of Desire”). They’re also deeply meditative, meaning they don’t happen at a breakneck pace. For moviegoers incapable of engaging with stories told in unconventional ways, Wenders’ cinema is probably a no-go.
Nonetheless, Wenders’ previous successes allowed him to assemble a $23 million budget for his film about a diverse group of characters (including William Hurt as a coded black fugitive) caught in a web of intrigue as an Indian nuclear satellite threatens to crash somewhere on Earth. The disaster movie element of “Until World Ends” may seem marketable, but Wenders is much more interested in emerging technologies that promise to enrich people’s lives while making them even more miserable. This didn’t help its box office prospects.
Until the End of the World is a science fiction masterpiece
Wim Wenders first conceived “Until the End of the World” in 1977 and developed its screenplay for more than a decade. He was still in some form of pre-production on the film, although he was unsure if he would ever get the financing necessary to realize his particular vision. It’s become a labor of love, and when someone as talented as Wenders is given the space to dream, you’re bound to end up with something extremely complex.
Initially, “Until the End of the World” was simply a lot of film, which would have lasted 20 hours. Wenders was contractually obligated to deliver a feature-length film, so he cut it down to 158 minutes for its US release and 179 minutes for its European rollout. He wasn’t happy with either cut, and when I saw the American cut in theaters, I wasn’t a fan either. There was so much going on in the story (bank robbers, bounty hunters, a dream recording device), but no time to connect with its myriad characters. We felt that the film had been emptied.
My opinion changed dramatically when I saw the restored 287-minute director’s cut. Not only was I moved by his reflection on the intellectual/emotional impasse of nostalgia, but I was thoroughly entertained throughout. The pacing of this version is perfect, and its depiction of humans’ relationship with technology a decade later is eerily accurate. (Wenders also saw the surveillance state coming in 1997’s “The End of Violence.”) Not to mention superb performances from William Hurt, Solveig Dommartin, Sam Neil, Max von Sydow and Jeanne Moreau.
The director’s cut of “Until the End of the World” is currently streaming on The Criterion Channel. Treat yourself to one of the most underrated sci-fi movies never done.
