★ 6 / 10
Caught between Earth and Sky RELEASED IN 2005
Wuchak
Caught between Earth and Sky RELEASED IN 2005 and directed by Wim Wenders, "Don't Come Knocking" tells the story of a 60 year-old B-Western film has-been…
Caught between Earth and Sky
RELEASED IN 2005 and directed by Wim Wenders, "Don't Come Knocking" tells the story of a 60 year-old B-Western film has-been, Howard Spence (Sam Shepard), who is sick of his meaningless scandalous carnal existence. While on a film set in Utah he jumps ship and flees on a horse, searching for SOMETHING, like a reason to exist. He ultimately travels to Butte, Montana, where he gets reacquainted with an ex-girlfriend (Jessica Lange) and meets an angry young musician (Gabriel Mann) as well as a mysterious spiritual woman (Sarah Polley). Meanwhile the film company sends an eccentric bounty hunter (Tim Roth) to fetch Shepard for breach of contract.
Although this is generally a quiet drama, it has a hip and likable artistic flair. The film is highlighted by magnificent Western locations and a nice modern Country/Western/Rockish score/soundtrack (non-twangy).
We can all relate to Howard's search on some level; hence, despite the film's slow drama it generally maintains the viewer's attention throughout its runtime, unless you strictly favor fast-paced, quick-edited explosion-every-five-minutes thrillers.
The two youths Howard meets in the story, Earl and Sky, represent two extremes. Earl's name is fitting because he's full of volcanic rage that spits out from deep within the Earth (Earl/Earth, get it?). Sky, on the other hand, is completely spiritual in nature (hence, sky/heaven). She's full of warmth, love, compassion and forgiveness. In fact, she's the crucial Christ figure without which there would be little reconciliation for anyone in the story.
Take note of the scene where Sky meets Howard in his hotel room. Sky just looks at him with the understanding eyes of divine love. This naturally makes Spence uncomfortable; he's never experienced this before. He doesn't know what to do, so he asks her to leave.
On a side note, Jessica Lange still looks good for being in her mid-50s but I found her character strange and annoying. Also, Earl's girlfriend (Fairuza Balk) is an entertaining free spirit who looks like she might be the daughter of Steven Tyler.
The third act of "Don't Come Knocking" is too low-key for my tastes, but the movie’s worthwhile if you favor the cast and have a taste for eccentric indie dramas, as well as stories about the modern West with echoes to the past.
THE MOVIE RUNS 1 hour, 51 minutes and was shot in Butte; Arches National Park and Moab, Utah; Elko and Wendover, Nevada; and Los Angeles. WRITERS: Sam Shepherd and Wim Wenders.
GRADE: B-
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★ 6 / 10
A slow, beautiful, meandering, improbable, poorly written, beautifully filmed film...
secondtake
Don't Come Knocking (2005) A disappointing attempt at gritty Western aura, movie insider savvy, and creative parallel plotting and editing. It has elements of…
Don't Come Knocking (2005)
A disappointing attempt at gritty Western aura, movie insider savvy, and creative parallel plotting and editing. It has elements of camp, of post-modern drama (references to earlier movies or movie types), and even some genuine sincerity.
There is a terrific George Kennedy, who is still active and very much making movies with his over-sized persona. There are smaller roles by several women, including a wan and frankly dull if pretty Sarah Polley. And mostly there is Sam Shepard being Sam Shepard, which is pretty good stuff. But he plays a famous actor who walks off a cheesy movie shoot into reality, and for the rest of the movie is walking as if in a dream through a reality he never quite knew existed.
I think this looked great on paper. At least until someone read the script. It just doesn't hold water, partly for the simple fact that we couldn't care less about most of these folk. In particular, the movie makers, the directors and execs are playing meaningless roles that might mean something to insiders, but to the rest of us (I'm not an insider, thankfully), it's self-indulgent and, well, boring.
What works best? Well, since the story pushes you out you look at the performances straight up, and some, like Shepard's, are strong (he reminds me of Woody Harrelson in this film, for some reason). There's the music (by T-Bone Burnett), an often used electric guitar sound with a country twang that is appealing and sometimes even evocative. And there is the filming, which is unadorned and very nice, depending on some amazing scenes, and the light and color in them. If there is ever an Oscar for scouting, for period sets that hype up the truth of a certain period, this is a good candidate. Certainly the light is romantically appealing.
But I'm stretching to see the best in a plodding film that had potential and lost its velocity very early on.
It has to be added that the director, Wim Wenders, has done some amazing work, and has his own following. But he might be trying to cash in on "Paris, Texas" which has its own small cult following, and which at least has a quirky and disturbing element to it. Here it is mostly a matter of wandering in the modern wilderness, and Wenders, I really believe, is not quite in touch with what makes America America. It feels cold and superficial. See his "Wings of Desire" for a masterpiece. Here? Have patience. Oh...and enjoy the scenery!
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