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You can skip movies 10 times but never go back.
A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his memory back of the life he led before he walked out on his family and disappeared four years earlier.
"I knew these people. These two people. They were in love with each other. The girl was very young, about 17 or 18, I guess. And the guy was quite a bit older. He was kind of raggedy and wild. And she was very beautiful, you know... And together they turned everything into a kind of adventure. And she liked that. Just an ordinary trip down to the grocery store was full of adventure. They were always laughing at stupid things. He liked to make her laugh, and they didn't much care for anything else because all they wanted to do was be with each other. They were always together...…
Watching Wim Wender's visual lullaby Paris, Texas for the first time, I was reminded how incredible it can be to enter a film knowing very little.
I've been aware of Paris, Texas since Primal Scream sampled a line of dialogue on a favourite song of mine, (I'm Coming Down' from '91's Screamadelica) and with its content, i'd only ever noted the film as being the definitive 'road movie'. That is all the information I carried in with me.
By the end credits I knew, felt even, that i'd just seen something very special. I'd been a passenger to Wim's driver for the duration (2 and half hours), clueless to where the film would go next but absolutely in love with…
"And the LORD spake unto Moses and Aaron, Because ye believed me not, to sanctify me in the eyes of the children of Israel, therefore ye shall not bring this congregation into the land which I have given them."
Thus, did Moses wander the desert for 40 years. And though he was allowed to see the promised land, he was not able to enter it. His only solace was leading others to it, that they might enter and lead a better life than him.
Wenders and Stanton wiped me out with this one. Hopefully I'll one day flesh out the correlations implied above, but for now, the possibility that Wenders has so masterfully woven analogies to the Torah in…
A man, so defeated by heartbreak, wanders the desert for four years in an attempt to...
...to what? Find the words? Forget? Escape? We all have felt like this before. Something so overwhelmingly difficult presents itself to us and all we want to do is run away. Just leave. Forget everything and everyone and just fucking walk away. I cannot tell you how many times I've wanted to drop my entire life and go live in the woods. I've been on the verge of destroying my computer and TV and bed and shoes and clothes and simply walking out of town into the wilderness, away from the stifling confines of civilization and its concrete jungles. I want a natural jungle.…
The Good: Flat-out stunning cinematography by Robby Müller. All those landscapes and vibrant colors... Wow. This is definitely one of the most gorgeous-looking films ever made. Incredible performances from Harry Dean Stanton, Nastassja Kinski, and Hunter Carson. Haunting slide guitar score by Ry Cooder. Masterful direction by Wim Wenders. Excellent writing by Sam Shepard and L.M. Kit Carson. Perfect pacing. The peep booth scenes. And that monologue... Fuck, it's like a sledgehammer to the heart. Top it off with a bittersweet ending and I'm left in pieces, completely awestruck.
The Bad: Nothing major. Acting is a little iffy at spots during the first half, most notably Aurore Clément's.
The Bottom Line: Heartbreak has never been more beautiful. If you have yet to see this cinematic masterpiece, you're missing out, big time. Paris, Texas is one of those films that will forever be imprinted in your heart and mind. Essential viewing.
The broad empty landscapes of dusky Southern American seem impossible to fill, such is the scope and size of the land. Yet one man has walked for what seems like forever, a solitary figure burning with quiet determination, pervading everything around him. With the remnants of home laying far behind life can only move on when this journey is at an end.
The mystery that lies underneath this man's sad, deep brown eyes is in no hurry to reveal itself. Four years spent wandering figuratively and literally through the wilderness has left it buried deep inside, its burning coals the only thing to sustain him for so long. Any tears have long been dried out…
A melting pot of longing, confusion, and love, but better than anything I could've imagined.
«Y por primera vez, deseó estar lejos de allí.
Deseó estar perdido en un vasto país donde nadie lo conociera, algún sitio sin gente, ni calles. Soñó con ese sitio sin conocer su nombre, y cuando despertó, estaba ardiendo. Había llamas azules quemando las sábanas. Corrió a través de las llamas hacia las únicas personas que amaba. Pero se habían ido.
Sus brazos estaban ardiendo, se lanzó fuera y rodó sobre el suelo mojado. Luego corrió. Nunca miró atrás, hacia el fuego. Sólo corrió. Corrió hasta que el sol salió y no pudo correr más. Cuando el sol se ocultó, corrió otra vez. Durante cinco días corrió así, hasta que todo signo humano desapareció».
An ok film. Why was he on the train tracks when it had little bearing on the outcome? Why was he mute at first, and then gets talkative as if nothing in the beginning happened? Harry Deans monologue at the end was well delivered, but should've ended with that. However that scene was ruined when Nastassja added her drawn out monologue afterwards. It's an ok film at best. This film also reminded me of my own life in that everything in it is drawn out and muddled. The cinematography was good though.
Sadly I don't see what others see. The synopsis and main focal point of this man wandering the desert with amnesia ruins all credibility after twenty minutes (when it's clear he remembers everything perfectly). The characters are deeply unlikable and the ending is illogical. The film gets points for its beautiful cinematography, but the script is terrible.
It's literally impossible for me to decide what my favorote movie is but this shure could be it. Also can we talk about that cinematography.
I'm glad I waited to see this in a theater - in the Palace Theatre no less, downtown. What incredibly beautiful cinematography, and such a subtly enthralling beginning - basically a mystery. Who is Harry Dean Stanton and when will he speak? When will we learn why he has to keep going?
The movie is a touch long, particularly in its emotional, monologue-heavy climax, but at the same time, I so enjoyed dwelling in the romantic and mysterious world of this movie that I didn't really mind so much.
Hope to revisit this again soon.
Intro by Harry Dean Stanton
Still such a fucking beautiful piece of cinema. That beauty increased tenfold tonight, having had the opportunity to watch it at the awesome Palace Theater in downtown LA, with THE Harry Dean Stanton introducing the film. He got a standing ovation and no "thank you" was muttered from his mouth; only "alright you can shut the fuck up now." Brilliant.
I want you all to vote on what you think are the greatest films of all time!
This is going…
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…