YouHeart I gave it a 7.5 out of 10

Stevecorp Don't listen to the negative reviews

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Steve Skafte "The Wrong Movement" is the second of three films by Wim Wenders about a disaffected man (in each case played by Rüdiger Vogler) searching for himself out on the open road. Unlike the first (Alice in the Cities) and third (Kings of the Road) films, this one is infinitely less accessible. It's the talkiness that brings it down in the end. Each character seems especially in touch with their own highly specific brand of angst. It's almost too easy to identify with, all the abstract alienation. We all feel it sometimes, but do we actually spend so much time speaking of it? This depiction of dark truth doesn't make it a good story, only an honest one.The actors are good (Nastassja Kinski plays a mute, in her first role), but the characters are cold. The dialogue is impressive, yet bereft of all beauty. On some inherent level, it's apparent that all the characters deeply despise one another. Wilhelm himself testifies at the very start to his dislike of people. Wim Wenders seems to be doing very much the same. Only, this time, it doesn't make for a very good film. Its shorter length is almost a relief.

andrabem I've noticed that many reviews about "art films" are written by people who have already decided to like them. This is the only way for me to explain why so many uninspired films are unavoidably hailed as master pieces - maybe it is because of the "artistic patina" that covers them, and Wim Wenders, after all, has got himself a name.For me it's a very simple question: Did I like the film? It doesn't matter who directed it, or anything like it. Well, I THINK didn't like the film. Why? I'll try to answer it."Falsche Bewegung" is based freely on Goethe's "Wilhelm Meisters Lehrjahre" (another reason why "art film" buffs SHOULD like this film). Wilhelm is tired of life and wants to become a writer. He leaves his mother and starts on a self-discovery journey. On the train, he meets an old athlete of the 1936 Berlin Olympic Games and his assistant Mignon, a mute acrobat (lovely Natassja Kinky). During a train stop he sees a woman staring out of a window of another train, Therese (Hanna Schygulla). In a road house they will know an amateur metaphysical poet. And these characters will unite and travel together searching for the meaning of life - reflexions on politics, the meaning of life, love, the need for action, metaphysical poetry... but no emotional links are established among the characters. Maybe it is because this film is seen through Wilhelm's eyes and all he really wants is to write a book.The film floats in emptiness - what moves the characters and makes them stick together remains a mystery - after many deep conversations, melancholy, and nothing else, I was really tired, and I almost decided to call it a day. But I gritted my teeth and watched the film to the end.When the film ends, the group has disbanded, each goes his/her own ways and Wilhelm is left alone brooding that he had made again "the wrong move", because he couldn't establish any emotional links with anyone. Emptiness, grey skies, hopelessness...Now, beware you "art film" buff - if you want to compare Wim Wenders with Antonioni or Bergman, you're on the wrong track. In Antonioni or Bergmans films, there's is loneliness and alienation, all right, but their films portray deep emotional troubles that come from human relationships, while this film, in particular, shows nothing at all, just emptiness followed by empty words. Nothing plus nothing equals nothing.

daydreamblvr1210 Wenders' road movies of the 70s have a charm that makes them accessible to many viewers, yet are often linked by the less accessible themes of alienation and detachment. It is an interesting dichotomy and one that comes to focus with this film. Political and cultural pre-determinism are not as easily digested outside the German point of view in the 70s, yet it is a common theme amongst Wenders films as well as (arguably) Herzog & Fassbinder (New German cinema contemporaries) . One does not have to be a philosophy or poli-sci major to enjoy this film however. The fact that Wrong Move is freely based on Goethe's "Wilhelm Meister's Apprenticeship" is easily overlooked by the casual viewer - but if viewed as an allegorical narrative, like Goethe's work, parts of the film come together and make this obtuse, personal work by Wenders more interesting.The characters Wilhelm (Rudiger Volger) meets during his trip represent ideological sensibilities of 70s Germany. Mignon played by the teen Nastassja Kinski represents the youth and future of Germany (mute, trusting yet undemanding). Laertes represents the idealism of old Germany, and considers himself a martyr for the Nazi cause. Wilhelm and Therese (Hanna Schygulla) are between these 2 and take action to liberate one from the other. All is told in an un-naturalistic style that only works in some cases. The long (almost single take) walk up the hillside by the river are a good example of where the film shines. The photography by Robby Müller is consistently excellent here.It's a difficult film but rewarding to those who take time to understand it from it's original historical and ideological context. Worth seeing for the cinematography of Müller and the presence of Hanna Schygulla and Nastassja Kinski.

Mighty E "Falsche Bewegung," (In the US called "The Wrong Move") is one of the finest films ever produced in Germany and certainly of of film guru Wim Wender's best works. An analysis of the sentiments, both serious and humorous, of the citizens of Post-war Germany, the feelings of guilt, loss, anger, and misdirection is so clearly and frighteningly distributed to the audience it really brings you to thought and to tears. A masterpiece.