Every film from Roger Ebert's "Great Movies" essays.
A place for dreams. A place for heartbreak. A place to pick up the pieces.
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.
"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…
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…
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 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…
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.
Wim Wenders Paris, Texas is the closes I seen to a perfect film (I needed to put that out there).
In a time of fast cuts, is good to see Wim Wender taking his time and allowing the film to breath giving weight to every scene.
The cinematography is exquisite, I could pause any scene and hang it on my wall, the use of color gives the film a life of it's own.
Paris, Texas is a haunting film of endless melancholia and redemption, a film that will stay with you for a long time.
The impressive shortfilm you have to wait two hours for at the end only emphasizes how tedious and hollow everything before was and how it didn't need to be. Fans of this don't just disturb me because of how they must view art the way other bad movie lovers skeev me out, there's some fundamental perspective on life that I find them repulsive for having that allows them to like this bullshit.
Never did I think that a film could make me hate my father more.
relationship that needs empathy
father-son sequence is very touching
revealing one's concern is always gold to oneself but when that is equally valuable to your life-mate happiness lies there
undoubtedly well acted
La première heure et quarante cinq minutes m'a subjugué. J'étais complètement pris dans cette histoire. Pour plusieurs raisons. A savoir des performances d'acteur mémorables, Harry Dean Stanton en tête mais tout le casting s'en sort plus que bien, mention spéciale pour l'acteur jouant Hunter, proposant un jeu très mature et crédible pour son âge; mais aussi par son ambiance. On peut véritablement parler d'"âme" du film, et c'est suffisamment rare pour le souligner. Il possède une véritable identité, une construction et un esthétisme qui le font sortir du lot. La relation fraternelle de début de film est super bien traitée, sous forme de road movie des retrouvailles, c'est limite du western, en tout cas très intéressant, ça nous donne envie…
What a strange experience that was. For a large amount of the running time I had a hard time understanding what was going on and why, despite the movie being fairly straightforward. I don't know why. The movie started to feel almost like a chore to watch. Then suddenly it was over with the most sudden, brutal ending.
It's a strange movie, I really need to think about it. Seems like something that'd be better on a rewatch. But if a movie makes me really think about it, it's the sign of something good. A lot of the time you'll watch something and go "yeah that was good" but a month later you won't even remember it. I'm just speculating here but I probably won't forget Paris, Texas and I'll probably return to it.
After this was recommended to me by several people I really didn't know what it was about the movie that caused them to hold it in such high esteem. Now I've seen it, it's still hard to communicate. The acting, particularly from Stanton, is stellar; the set design is beautiful; and the cinematography is gorgeous. The only thing I took away from it that I can really communicate is the fascination Wenders seems to have with light sources - neon signs, LA city lights, Texas sunsets, Houston skyscrapers..
One of the most intensely beautiful and terrifyingly adult films I've ever seen.
I put off watching this for years, due to the fact it looked a bit long, and maybe a tad boring. Then I watched Wings of Desire and it made me genuinely scared to watch Paris, Texas to the point I almost considered writing off Wenders all together; fortunately the Merry Watchlist Go Round boxd.it/862E kind of forced my hand and I finally watched this movie and loved every single minute of it. Not even six weeks later I've watched it again and it's left me thinking this is now one of my top 10 all-time favourite films.
Paris, Texas is stunningly beautiful to look at, with a relatively simple, but very powerful story about love, relationships, and family. The…
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