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I was wondering for years why Wim Wenders took Heinz Rühmann in. One of Wender's Berlin movies featuring Rühmann has this story telling character sitting in an old taxi or so talking. Rühmann was a flyer during #Nazi #Germany, a VIP, a movie star. He sung kind of "Ein Freund" songs ("a friend") "und wenn die ganze Welt zusammenfällt" ("nevertheless the world collapsing")... Openly a comment to the war Germany was unleashing 1939. So why Heinz and Wim? What are they doing with Rühmann and
why does watching this movie give a feeling of seeing a post-war Berlin. Rühmann was 'not a real Nazi'. He was a Goebbels star, but no real anti-semit, never really pro-war, never doing any harm to anyone in the epicenter of the Reich. He was just one of us, the legend tells. This position being 'no real murderer' more likely being victim gives Wenders the option for mediating war, post-war and people's concept being a victim of nazism whilst beeing a ex-Nazi. Wenders old man speaking in a
kaput car is forgiveness: See, what can an old man do? Without strength, without power, suited with the power of old man talk only. A character of history itself. Rühmann was starring "Quax, der Bruchpilot" ("Quax, the crash pilot"), one of the main _war's like fun_ and _get on with it_ films in 1941. Wenders took him in because he could then write film history writing history through film. Such film/history is no concept that fits or not, like #Deleuze might had in mind. It
was and is a statement. The statement: others did it, not him, not me, not us. This 'it' may be the German crimes. And I don't mean 'war crimes' but war *as* crime.
The photo in black and white and grey shows a hand figuring an air plane ('flyer' in older German) against a grey and darker wall which is a double diagonal plane divided by the edge of wall and ceiling.
Correct.: airplane.