[.ca] End of Violence (Widescreen/Full Screen) (ISBN 0792844009)

From Amazon.com:
If Wim Wenders falls prey to overambition in this sprawling story of identity, conscience, and voyeurism in modern Los Angeles, it pays off in a richness absent from so many of Hollywood's safe, sterile films. Bill Pullman is the ostensible hero, a Roger Corman-like producer abruptly kidnapped by a pair of dim thugs who prepare to kill him in the shadow of the L.A. freeway. Gabriel Byrne watches, powerless, from on high, a meek Big Brother wired up through surveillance cameras hidden throughout the city. When Pullman disappears into the faceless population of L.A., adopted by a family of Hispanic gardeners, he begins his own covert investigation in parallel with the official inquiry conducted by movie-buff cop Loren Dean. Ostensibly a thriller, the film has little onscreen violence, but shadowy threats prowl around the edges, and echoes of unseen murders permeate the picture. The narrative is a tangle, neglecting characters and leaving the vast conspiracy more a suggestion than a fully conceived plot, possibly the victim of last-minute reworking after a disastrous showing at Cannes. But Wenders's unerring eye for image and color creates a stunning, often startlingly beautiful film of unsettling menace and haunting mystery, and his generosity of character fills this world with vivid personalities. Cult director Sam Fuller and character actor Henry Silva have small roles, and Traci Lind costars as a young stuntwoman with ambitions of an acting career. As always, Ry Cooder's score is superb. --Sean Axmaker

The End of Freedom:
In George Orwell's masterpiece "1984", Oceania is one of three new-world-order totalitarian governments that are in a perpetually mutual state of war. Oceania's propaganda motto is, "War is Peace", "Freedom is Slavery", "Ignorance is Strength". The Ministry of Truth, where the protagonist works, controls the dissemination of all information, and constantly rewrites the historical record. "Newspeak" is the re-formulated and politically correct language used in this process, designed to obliterate all original thought and any past or present events perceived as adverse to the health of the State. Government surveillance is everywhere, even in the "private" rooming houses for example, where all residents are forced into morning calisthenics under two-way television monitoring by BB - Big Brother. This reviewer can't know where Wenders got his inspiration for this way under-recognized film, but one must conclude that he was deeply aware of Orwell's and other such work. After seeing this film in 1998, this collector prematurely dismissed it, perhaps having little appreciation of how prescient it would shortly become; and having considerable disenchantment with Wenders' previous artsy, unrealistic and truly awful "Wings of Desire". Yet despite this reviewer's negative view of "Wings", the themes and method of depiction in "The End of Violence" became, in retrospect, increasingly haunting. One could consider this film as being a more nuanced and updated "1984," or a more constrained and intellectualized "Enemy of the State" (another great movie). The pacing is just the opposite of Enemy's frantic activities, rather being (almost maddeningly) leisurely and surrealistic. The basic plot is this: A computer development expert (Gabriel Byrne) is deeply involved in the test development of a highly classified FBI prototype in Los Angeles, a system involving city-wide surveillance webcams and spy satellites to constantly monitor all citizen activities. Developing major ethical concerns about the use of this system to commit political murders, and knowing he personally is being monitored, he tries clandestinely to email the secret details of the system to an acquaintance, a casual though (in desperation) trusted film producer who probably has the public connections that could facilitate action as a whistle-blower. In the parallel and converging plot lines, the film producer (Bill Pullman) realizes he is in mortal peril when he survives a bungled (and attempted disguised) assassination attempt. Confused as to why, but knowing his life is in danger, he flees to anonymous refuge with a mom-and-pop Mexican gardener troupe, from whence, with the occasional help of troupe members, he conducts his own pathetically limited fact finding. He discovers that the perception (by whomever) that he has come into possession of a highly classified FBI report via his email has motivated the assassination attempt, thereby forcing him to go into hiding indefinitely. This is not science fiction! And this film doesn't go far enough! The technology for this sort of stuff exists today. All that's lacking is access of and coordination between the information pools and data bases which already exist or are coming into existence. There is feverish pursuit for such programs through enabling legislation like the "Patriot Act". One hears terms like ECHELON, CARNIVORE, Total Information Awareness, and "facial recognition technology." There are spy satellites too; as one character says: "Watching the skies from the earth is easy. Watching the earth from the skies is more difficult." There are spycams everywhere on major highways, at traffic-lights, gas stations, shopping malls, and ATM machines. Using current or developing computer technology, such programs propose to expand and integrate these data sources to support an ever-widening surveillance network. In Wenders' parlance, the result is an "end of violence" - by whatever means necessary! The film's leisurely, surrealistic quality makes it all the more chilling. Wenders makes one feel that if an "Oceania" is not already here, we are heading pell-mell in that direction: His ending prognosis for freedom as we have known it is not very upbeat. Some viewers may be put off by Wenders' artsy techniques. For example, he likes to keep viewers off balance by cutting abruptly away in the middle of an important event to one of the other several interconnected threads, then revisiting that event after the fact to examine the consequences. But Wenders assumes viewers of his films have some measure of intelligence (a dangerous presumption perhaps?) and can follow these multiply inter-connected threads. To those who must have every detail spelled out in sequence by the numbers, with spectacular (frequently impossible?) action sequences like car chases, gun battles or explosions, this film is emphatically not for you! Perhaps your viewing habits should be limited to flicks written by 13-year-olds for 13-year-olds. This dual-sided disc has the theatrical release widescreen (2.35 to 1.00) presentation on one side, a standard pan-and-scan on the other. The widescreen's day and night color, detail, and composition cinematography is breathtakingly beautiful, a work of the highest cinematic artistic merit! Stereo sound is excellent and at times startling. The intellectually-challenged or those with their heads in the sand can skip this thoughtful, highly entertaining and challenging film.

pure garbage(-2stars):
They need a negative system to rate this one right.Just remember that time is precious and I would not recommend wasting time out of your life for this.

Political toast with no beef to back it:
Empty space, this movie has no coherent story. In the end, we are told that the government is watching everybody, but somehow, our hero gummed up the works before he disappeared into the night. Awful, preposterous, garbage. If I did not know any better, I might think it is a video game, it barely resembles a movie.

Eh...:
Too self-consciously artsy-fartsy for my taste. This is the sort of movie pretentious people love since it allows them to make a big show of pretending to appreciate something "challenging" that a general audience would not "get". If you don't have that sort of agenda when watching a movie, however, you might want to stay away from this one. It's deliberately obscure in many places, to the point of self-indulgence and beyond. There was enough in it for me to care vaguely about the Pullman and Byrne characters, but I still felt like I had just wasted 2 hours by the end. It seemed much longer.

A Thoughtful Film:
While I certainly recommend The End of Violence, I do so with some mixed feelings. One the one hand, it is full of *obvious* commentaries on the negative impact of violence in Hollywood and society; the dangers of government activities being kept secret; and how fast-paced lives lead to empty relationships. On the other hand, this is all true and the movie holds the entertainment industry acccountable for promoting much of that, rather than just saying that entertainment is a reflection of society. And people do need to be more connected with, or present in, their own lives, as the film underscores. I enjoyed the cutting away to the different yet related scenes, though I agree with the others here who wrote that the subject matter would have been better served by a longer film. Most of the actors and actresses did a fine job, from the small but moving role of the elderly father to Bill Pullman playing the lead of Mike Max the film producer. But Andie MacDowell was inconsistent in the role of his neglected wife wanting more from life. In her biggest scene, in the living room at night, she might as well have phoned-in her badly recited lines. It was also annoyingly clear that she wasn't borthering to listen to her fellow actor, Bill Pullman, who, in striking contrast, is always fully present in his roles. I just wish that what I saw was a work-in-progress, as this film could have been better.