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Don't listen to the negative reviews

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

"Everything has to change". This is the good-bye message which character Robert leaves to character Bruno after a few days of joint traveling through the 197ies West German countryside. Actually, not traveling: Bruno works as an independent cinema equipment repairman who visits small town cinemas to check their projector stuff and took Robert as a passenger after witnessing his rather clumsy suicide effort. Both are somehow reluctant (or unable) to really get involved with life and other people. They seem to have plenty of time, no hurry for both of them. And thus this movie proceeds at a snail's pace. Tormenting it felt sometimes and I was thankful for the "pause" button of my DVD player. "Kings of the road" was shot in 1976 West Germany. Watching it in 2017 felt really odd to me. Nowadays' motto sounds rather like 'modernize or tear down' - 'keep a tight schedule' - 'time is money' - 'everyone for himself' etc. - well, you know. 7,5 (=8) of 10 anyhow for remarkably beautiful takes (mind the side view mirrors!) and very adequate last minutes. In general, the combination of visually stunning shots and a rather dragging storytelling might actually strengthen the sustainable impression this movie is able to produce - if you can bear watching it all through.

Considering the length and weight of his oeuvre, my exposure to the cinema of Wim Wenders is a limited one to say the least. This inexperience stems not from a lack of viewing opportunities, but an apprehension instilled in me after a succession of run-ins with some of his lesser achievements, such as the patience testing 'Until The End Of The World' and 'Faraway, So Close'. It was with a thick air of trepidation then, that I slipped the German auteur's 1976 opus 'Kings of the Road' into the DVD tray and positioned myself nervously on the couch in preparation for a potential 176 minute assault of self-indulgent monotony. I watched the first hour beneath a cloud of ambivalence as the monochrome images and sparse dialogue crawled by at tortoise speed with any blip of a detectable plot yet to appear on the radar.The longer it went on however, the more snugly it began to slip under my skin, and the saga of Bruno Winter (Rudiger Vogler) - a truck-driving mechanic travelling across Germany to fix broken down projectors in dusty old picture houses - and Robert Lander (Hanns Zischler) - a depressed hitchhiker with a failed marriage behind him - began to gracefully reel me in from the waters of uncertainty and onto the shores for a warm embrace. At journey's end, my mood was a gleeful mix of satisfaction and gratification: the best part of three hours in these charming men's company had proved very rewarding indeed.Bruno and Robert's paths cross via the latter's soggy, blackly comic suicide attempt, leading them down the long & winding road of decaying movie theatres, lonely hearts, unforgettable black & white images and a stunning soundtrack. And without really trying too hard, KOTR ends up as a far more worthy lament to the good old days of film-making than anything to be found in the pre-digested pap of 'Cinema Paradiso'.This is beautifully illustrated both in the prologue (where Bruno bends his ear to an elder statesman bemoaning the passing of cinema's golden age) and a sequence in which our heroes manfully attempt to restore a matinée viewing gone awry whilst silhouetted behind the movie screen of a theatre full of impatient school children. The two men spontaneously burst into a Chaplinesque slapstick routine to the delight of their captive audience and end their performance in a laughing, gasping heap on the floor. They're rudely awakened by a hangman's style noose swinging ominously between them. For better or worse, things will change. A very poignant moment considering today's climate of declining bums-on-seats in the cinema.Another thing that jumped out at me, were the separate occasions in which Bruno and Robert cast their eyes over the front-page headlines of the daily newspapers; "Terror attack in Jerusalem" and "1 million unemployed" are the type-faces that flash momentarily on the screen, giving both men a firm tap on the shoulder as a reminder of the big-bad-world they've left behind. Blank facial expressions give nothing away as to what either man is thinking and Wenders cuts to the next scene before there's any time to ponder the effects these news stories might have on the decisions concerning their chosen lifestyle. Whatever the case, it resonates loudly with the state of our own current affairs demonstrating at once, that nothing really changes, and what a fascinating, timeless work of art KOTR truly is.All of these things might sound portentous and heavy handed, but Wenders never forces the issues, takes sides, or labours the point, instead opting for a relaxed narrative where everything unravels in its own time in a hands off, matter-of-fact fashion, leaving us with an elegiac, me-dative affair blessed from top to bottom with great, understated writing and performances.Fans and critics alike seem to agree that the spare dialogue interaction between the protagonists signifies the difficulty of communication and self-expression that can lead to the breakup of a relationship, resulting in physical violence. This reading of the subtext is certainly not without merit, but as far as the central characters are concerned, I'd have to say I think it's a much lighter movie than that.Bruno & Robert's nods, smiles and casual shrugs are all part of a silent language and mutual understanding that highlights their free-spiriting nature and genuine feel and affection for each other. There is no need for them to spout endless superlatives re the might of the road, or posture existentially on the magnitude of the landscapes, when they know (more likely than not) that they're both thinking the same thing. Oh sure, they might bicker now and again, endure sadness and have the occasional strop, but so does everyone else on the planet. Everyone else likes to laugh from time to time too, so when the buck finally does stop (after an insipid, mirth-inducing 'punch-up') they go their separate ways with a smile and cheer of goodwill for each other. What could be sweeter than that? I'm not the first (and will surely not be the last) to say that one could go on longer than the film itself hammering out endless analysis on its incidental delights, sensitivity, craftsmanship etc , so I'll sign off by saying that Wenders' masterful epic will certainly not be for everyone, but was most definitely for me. It's quite possible I'll still be on my guard when it comes to checking out his other titles (although I'm super-keen to see the first two parts of this trilogy – 'Alice in the Cities' & 'The Wrong Move'), but when the mood takes me again, I'll be more than happy to hitch another ride on board The Winter & Lander Express. When it comes to KOTR, Wim Wenders is the REAL 'King of the World'!

Every American who came of age before reunification of East/West Germany should see this film. It encapsulates a time; a frame of mind. Perhaps its most important feature however, is the way it uses sparse cinematography, and spaces, both literal and figurative, to illustrate the moral and spiritual conditions of the protagonists. There are few films which demonstrate such a mastery of the art of the visual in storytelling. For those interested in the place of film in the broader social context, I'm Lauf Der Zeit provides countless wry observations. At least as important as The Last Picture Show. I am waiting for the definitive authorized DVD with subtitles. By far my favorite Wim Wenders film.

Just a guess: Wim Wenders must be a railway-enthusiast. In this film he depicts the decay of Cinema's along the Iron Curtain on the Westgerman side. The film starts with a scene at the Doemitzer Elbebruecken, the bridges at the River Elbe, which where removed after World War II on the Eastgerman side. When we had a Wim Wenders special in our art-house-cinema (ran by volunteers) I had the opportunity to identify with the main character, being the projectionist. In the beginning of the film there is a continuity mistake: The Volkswagen Beetle is submerged more in the close shot as in the total. The film ends with a shot of the Cinema called Weisse Wand (White Wall). Only the W's are lit: W(I'm) W(enders), this film is a true signature!