The Wrong Move (UK) or Wrong Movement (USA video title) (German: Falsche Bewegung) is a 1975 German road movie directed by Wim Wenders. This was the second part of Wenders' Road Movie Trilogy which included Alice in the Cities (1974) and Kings of the Road (1976). The Wrong Move stars Rüdiger Vogler and Hanna Schygulla and notably was the film debut of Nastassja Kinski, who later played one of the leading roles in Wenders' film Paris, Texas (1984), as well as appearing in his Faraway, So Close (1993). Kinski was thirteen years old at the time of filming.
(Adapted from Wikipedia)
The film is largely plot-less, with long carefully composed shots characteristic of Wenders' work. The story follows the wanderings of an aspiring young writer, Wilhelm Meister (Rüdiger Vogler), who undertakes a journey from his hometown Glückstadt to Bonn, leaving behind his oppressive mother. Travelling from place to place about West Germany, Meister gathers an odd cast of friends, and winds up alone on the Zugspitze. The mountain symbolized the distance he has put between himself from his fellow man. Nevertheless, he remains dedicated to becoming a writer. His thoughts are occasionally presented in voice-over. The road movie is a rough adaption of Goethe's Wilhelm Meister's Apprenticeship – generally considered to be the first Bildungsroman ("novel of formation"). Cinematography by long-time Wenders collaborator Robby Müller.
Six days in the life of Wilhelm: a detached man without qualities. He wants to write, so his mother gives him a ticket to Bonn, telling him to live. On the train he meets an older man, an athlete in the 1936 Olympics, and his mute teen companion, Mignon. She's an acrobat in market squares for spare change. An actress, whom Wilhelm gazes at, joins them. Then, a plump young man introduces himself, having heard them talk of poetry. He takes them to his uncle's, except it's the wrong house; they interrupt a man's suicide. He invites them to stay. The actress tries to connect to Wilhelm. Couplings and rare bursts of feeling come as surprises; other characters remain alone.
Director: Wim Wenders (Adapted from Wikipedia)
Born in 1945, Wim Wenders is a German filmmaker, playwright, author, photographer, and a major figure in New German Cinema. In a career spanning over four decades, he has received some of the highest international film awards, including the Palme d'Or at the 1984 Cannes Film Festival for his drama Paris, Texas; the Golden Lion for the drama The State of Things at the Venice Film Festival (1982); and Best Director for the romantic fantasy film Wings of Desire at the 1987 Cannes Film Festival. He has been nominated for the Academy Awards three times, for his documentaries Buena Vista Social Club, about the music of Cuba, Pina, about the contemporary dance choreographer Pina Bausch, and The Salt of the Earth, about Brazilian photographer Sebastião Salgado. Since 1996, Wenders has been the president of the European Film Academy in Berlin.
Alongside filmmaking, Wenders works with the medium of photography, emphasizing images of desolate landscapes.
Peter Handke (Script)
Peter Handke, (born 1942 Austria), avant-garde Austrian playwright, novelist, poet, and essayist, one of the most original German-language writers in the second half of the 20th century.
He came to public notice as an anticonventional playwright with his first important drama, Publikumsbeschimpfung (1966; Offending the Audience), in which four actors analyze the nature of theatre for an hour and then alternately insult the audience and praise its “performance,” a strategy that arouses varied reactions from the crowd. Several more plays lacking conventional plot, dialogue, and characters followed, but Handke’s other most significant dramatic piece is his first full-length play, Kaspar (1968), which depicts the foundling Kaspar Hauser as a near-speechless innocent destroyed by society’s attempts to impose on him its language and its own rational values. Handke’s other plays include Das Mündel will Vormund sein (1969; “The Ward Wants to Be Guardian”; Eng. trans. My Foot My Tutor) and Der Ritt über den Bodensee (1971; The Ride Across Lake Constance).
Handke’s novels are for the most part ultraobjective, deadpan accounts of characters who are in extreme states of mind. His best-known novel, Die Angst des Tormanns beim Elfmeter (1970; The Goalie’s Anxiety at the Penalty Kick), is an imaginative thriller about a former football (soccer) player who commits a pointless murder and then waits for the police to take him into custody. Die linkshändige Frau (1976; The Left-Handed Woman) is a dispassionate description of a young mother coping with the disorientation she feels after she has separated from her husband. Handke’s memoir about his deceased mother, Wunschloses Unglück (1972; “Wishless Un-luck”; Eng. trans. A Sorrow Beyond Dreams), is also an effective work.
Handke also wrote short stories, essays, radio dramas, and autobiographical works. The dominant theme of his writings is that ordinary language, everyday reality, and their accompanying rational order have a constraining and deadening effect on human beings and are underlain by irrationality, confusion, and even madness.
(Adadpted from Britannica).
Handke collaborated with director Wim Wenders on a film version of The Goalie's Anxiety at the Penalty Kick, wrote the script for Wenders' The Wrong Move, and co-wrote the screenplay for Wenders' Wings of Desire. He has also directed films, including from his own novels, The Left-Handed Woman and L'absence.