“This eventually leads to one of the only purely erotic sequences in To’s body of work, in which Yam’s and Lin’s characters share a cigarette on a leisurely drive in a vintage Mercedes convertible. The narrative purpose of this or any other sequence in Sparrow is secondary at best. It’s all about the musicality that’s the essence of To’s style. Anyone who’s interested in the nuts and bolts of film craft would do well to study the guy.” Ignatiy Vishnevetsky’s appreciation of Johnny To’s Sparrow is alert to the film’s playfulness and homages, while subtly making the larger point that perhaps something essential has gone missing in a film culture where masters can no longer make such inconsequential delights in between their grand statements.
“But Wenders also perceived the sympathetic faces of angels watching over Berlin everywhere he went (most notably the Friedensengel monument) and found that he was inexplicably drawn to angelic symbolism in other realms: a song by The Cure, a painting by Paul Klee, elegies by the poet Rainer Maria Rilke. He wasn’t sure where it was all going, but the seemingly disparate imagery of dilapidated Berlin and serene angels had begun to fuse in his mind.” That contrast that became the crux of Wenders’s Wings of Desire also informed the soundtrack, from Jürgen Knieper’s mournful, ethereal score to the collection of pop tunes, as Clare Nina Norelli explicates.