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And certainly their music has an unusually prominent role in the film. Petit has claimed in interviews that he became a music journalist solely with the intent of meeting Kraftwerk. The words come from Kraftwerk, the group which Florian Schneider founded with Ralf Hütter in Düsseldorf in 1970 – a fitting reference, given Radio On’s larger fixation on German music and cinema as an alternative to the hegemony of Hollywood’s dreamworlds and an increasingly desiccated Anglo-American rock still in thrall to the mythos of ‘the sixties’. All change in society passes through a sympathetic collaboration with tape recorders, synthesisers and telephones. We are the link between the ‘20s and the ‘80s. We are the children of Fritz Lang and Werner von Braun. Structured, like most of Radio On, as much by its late 1970s’ musical soundtrack – in this case the English-German version of David Bowie’s six-minute Heroes/Helden recorded at Hansa Studios in Berlin – as by any conventional narrative drive, the opening shot lingers, briefly, on a handwritten sign pinned to a bedroom wall:
Volkswagen blues colonisation movie#
A singular attempt to graft a Wenders-inspired German version of the US road movie onto a bleak, run-down, black and white English landscape during the dog days of the Callaghan government, the film opens with a long tracking shot that creeps slowly around a dimly-lit flat in Bristol, before coming to rest on the feet of a suicide in his bath.
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![volkswagen blues colonisation volkswagen blues colonisation](https://i.pinimg.com/236x/dc/9c/4f/dc9c4fbbf513d885ed35f58487b9a7e0--volkswagen-bus-vw-camper.jpg)
Not long after the death of Florian Schneider was announced in May of this year, 1 I re-watched the 1979 film Radio On, directed by Chris Petit, and co-produced by Wim Wenders.
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‘There is no beginning and no end in music … Some people want it to end but it goes on’
![Volkswagen blues colonisation](https://kumkoniak.com/50.jpg)