"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.

Bruno (Rudiger Vogler) is a Cinema projector repair man who travels from town to town along the West and East German border repairing old cinema projectors. One day while shaving by the side of a road, a man drives his car at high speed into a lake, gets out and walks over to Bruno. Bruno, not knowing what else to do laughs at the man and offers him some clean clothes. The man, Robert (Hanns Zischler) hitchhikes with Bruno from town to town beginning a strange and often uneasy friendship.The film has several themes which jump out at you and are present throughout. The first is a love of cinema and anger at what has become of the small German cinema. Most of the cinemas that Bruno visits are either badly run, have been turned into porn theatres or are closed altogether. This is director Wim Wenders way of showing viewers what is happening to small cinemas. It is a problem which over thirty years later is still present in my own country. Occasionally Bruno will come across a small, old theatre run by an ex Nazi that is run with care and dedication. A place where old, noisy machines are used by artisan projectionists to show the great classics of the 50s and 60s but generally he deals with people who have no interest in film or it's proper projection. This film is very much a love letter to film.A second theme is that of loneliness. Both men are incredibly lonely. Robert's half hearted suicide attempt and constant depression is due to his loneliness after his wife has left him while Bruno spends his life on the road, in an old van, with no time for any love or affection from a woman. For large swathes of the film nothing is said but much is learned through glances and slight comments. It isn't until over an hour in that we discover what the characters names are and it is about two days after travelling together that the two men actually reveal their names. Both are used to silent existences. In one telling scene, Robert confronts his father about never being allowed to speak and we gain insight into why he is so silent.The third and final central theme is the Americanisation of Germany. This is a theme of the entire second half of the twentieth century but obviously something that affected West Germany in a large way. When talking about American music Bruno states that "The Yanks have colonized our subconscious". Although filmed and set in the mid 1970s it is still obvious that the Second World War is in the back of everyone's minds. Bruno lost his father to it, the elderly people were party members and the Americans still have a say in the daily lives of Germans who like Bruno and Robert were possibly not even born in 1945. There is a sense that the men and Germany as a whole have been castrated by American 'imperialism' and that is one of the factors in their introverted and non communicative personalities.A visual metaphor that Wenders uses is a railway. For much of the film, the men are seen to drive parallel to railways as though to indicate that they are remaining with the status quo and nothing is changing in their lives. In one telling scene, Robert has to cross the line to confront his father and in another he stands very close to it as a train passes, almost as if he is desperate to cross but can't quite manage it. It is as if the line is a barrier between their current selves and what they could be. This is confirmed in the closing scene in which the two men part company.Shot in black and white the film has the kind of hyper realism of Martin Scorsese's contemporary films. Wim Wenders goes a step further though and is not afraid to show the audience every part of a person's life. In one early scene Bruno is seen parking his van/home near a beach, walking on to the beach, squatting and defecating. The faeces are actually visible leaving his body. The scene is unexpected and shocking but makes you realise that you are seeing every part of this person's life and that nothing is being left out. In later scenes a cinema projectionist is seen to be masturbating, again showing the entire act and Robert is filmed urinating, once again hiding nothing. This hyper realism was unexpected and is responsible for the film's '18' Certificate in the UK. Was it necessary? No. But it let the audience know that nothing was being hidden from them.The plot itself is very slow and nothing much happens for a long time. It is the lack of communication that drives the tension rather than car chases or explosions etc. You almost want to reach into the film and start a conversation. The film also feels older than it is in part due to the black and white but also because the rural Germany in which the protagonists are driving through feels unchanged from before the war. The landscape of the towns reminded me of rural Slovakia, a country which today feels somewhat more 'backward' and less developed than Germany.The acting is very realistic and the script also adds to the realism. Wenders' shooting technique is visually arresting but the film is nearly three hours long and feels longer. It's a film that I'm glad I watched and would recommend to hardcore cineaste but a lot of people will find the film boring. I enjoyed it but could have done with an hour less of it.www.attheback.blogspot.com

Projection engineer Bruno Winter is pulled up alongside the River Elbe, as he sets about giving himself a shave a Volkswagen drives straight into the river in what seems to be a half hearted suicide attempt. The driver of the Volkswagen is woman troubled Robert, after getting to the river bank he finds Bruno to be a most interesting person, and the pair then set off on a road trip that will shape their respective lives and outlooks considerably.Shot in 11 weeks between July 1st and October 31st 1975, Im Lauf der Zeit is now considered to be one of the seminal pictures of New German cinema. Director Wim Wenders and his crew set off along the Zonenrandgebiet with only an itinerary set in concrete, working completely without a script, his lead actors, Rudolf Vogler & Hanns Zischler manage to produce one of the most thought provokingly intelligent road movies to have ever been made.There are many musings on this picture across internet forums, and although the film has very deep meanings, I really feel that it's down to the individual viewer to align themselves personally with our protagonists to get the most from the piece. Wenders clearly had deep feelings for German cinema, and here as the guys move from town to town, on Bruno's projection repair route, the feeling that film in this country is dying is quite palpable. This all ties in with the theme of change that is the core essence in Wenders film, it's not just our characters who need to wake up to the need for change, it's essentially his home country as well.As the guys move on they meet people, they drink, talk, even fight, and it's all filmed in real time, we are forced to be part of this unlikely friendship, be it washing or shaving, or the act of defecating, it's all humane and sits perfectly as a normal way of life. Come the ending, after nearly three hours of engrossing cinema, we know what has been identified, not just for our two wonderful characters, but for all of us who may be wary of change. The black and white photography from Robby Muller is excellent, and manages to make the various landscapes the guys travel thru an extra character, but ultimately it's just one of a number of things that make Im Lauf der Zeit a truly smart film. My hope is that any newcomers to the film will get as much from it as I did, maybe something different perhaps? But at the very least a recognition that this is a truly wonderful picture. 9/10

This is one of my all time favorite films. I love to sit back and just watch it go by. Every scene is worthy of a still photograph and there is little dialog to interfere with this quiet journey. Wenders seems to know what it's like to travel simply to escape ones current reality. The two main characters establish a friendship with few words, and seem to know inherently that too much talk would ruin the moment. It is a long film that moves slowly, so be prepared and get comfortable. It reminded me of the feeling I get on a long roadtrip when its just good to be anywhere but home.