Somewhere in this star vehicle there is an actually charming and interesting love story hidden, which too rarely unfolds its real attraction for my terms, which is mainly due to a boring Redford and an annoying Streisand (both are in some scenes pretty great but mostly complete overacting in strained seriousness) as well as a handful of other stereotypes. The political explosiveness of the material was mostly filmed around it, but it is still expressed in the sometimes great dialogues.…
The way von Sternberg stylizes his muse into an icon against everything else and inserts it like an engine into the colportage-like story, which in the end actually sits enthroned above the film like a martyr, is so breathtakingly beautiful, you can't even count the iconic moments that were directed in a feverish dream of long fades into light and shadow. Next to "Morocco" this is an absolute masterpiece of the Sternberg/Dietrich phase. Let's see what else comes next.
The most beautiful lens flares, the most beautiful color palettes, the most fascinating use of aspect ratio, a score that keeps you deep into the mood of these pictures where the sadness is told in old stories from the past which lie like the veil of the curtains, blowin in the wind, on this film and the inner strife of our leading actress concludes to the fact that the film denies genre expectations, instead of a coherent flow, the film interleaves but shows another essential.
Nature and time in itself in a full balanced film.
This is Christian Petzold at the height of his art. I am not sure about the cast of some supporting roles but that is actually only a small criticism of such a brilliant, as urgent film, which incidentally has one of the most efficient voice over, I have ever seen and heard. A friend said after the premiere in Berlin that the song during the final credits was a very bad choice, which I can understand, but somehow fits "Road…