Glückstadt in northern Germany, Bonn, a palace along the Rhine, a housing project on the outskirts of Frankfurt, and finally the Zugspitze—these are the stations of the journey that the young Wilhelm Meister (Rüdiger Vogler) hopes will save him from the gloomy irritability and despondency that plague him in his hometown. In unfamiliar places, he thinks that he will be able to do what he has always had an uncontrollable drive to do—to write. He wants to become an author. With the journey, which his mother (Marianne Hoppe) gives him permission to make, he hopes to broaden his horizons and, above all, to find himself.
In Goethe’s novel "Wilhelm Meister’s Apprenticeship," which provided the source material for Peter Handke’s script, a journey of this kind was still a “genuine movement.” In the literature of the nineteenth century, particularly in the German bildungsroman, the topos of the journey is always linked to lasting significant changes and experiences. Traveling is synonymous with the successful search for one’s own identity.
But the Wilhelm of Wrong Move must arrive at the painful recognition that today a journey alone no longer leads to the desired goal. His path leads him into an unbroken series of failures, through his own fault and that of all the people he meets on his way: the street singer Laertes (Hans Christian Blech), struggling with his Nazi past, the mute girl Mignon (Nastassja Kinski in her first role), the poet (Peter Kern), and the actress Therese (Hanna Schygulla).
"Wenders turns a self-consciously casual ramble into a vast soul-searching." - The New Yorker
"The aimlessness of both the character and narrative are so genuine, the longing mood so real and the Robby Müller cinematography so evocative, that the lost and directionless dimensions of the film take on quietly poignant qualities." - IndieWire
WIM WENDERS RETROSPECTIVE
Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this abbreviated retrospective of seven of his films—from early works of the New German Cinema (Alice in the Cities, Kings of the Road) to one of the art-house 1980s blockbuster that made him a household name (Paris, Texas) to the inquisitive nonfiction look at world culture (Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world.