All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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…
"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... Yes, they were, they were real happy. And he, he…
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 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…
Paris, Texas is a beautiful character study of a mysterious, mute wanderer who tries to fix his relationship with his young son, who lives with his brother in LA. He takes his son on a trip to Houston to find his missing wife.
The film is a love letter to the American Southwest, featuring some of the best landscape photography I've seen in a film. It takes you back a bit. Seeing the open country, not a soul in sight. Nowadays it's all cars and buildings.
The cast is all wonderful, especially Stanton who plays the lead. However, I was irked by the wife of the mans brother, as I felt her line delivery was extremely awkward. I couldn't take…
A story of a man coming back from the edge.
"Paris, Texas is a 1984 drama film directed by Wim Wenders and starring Harry Dean Stanton, Dean Stockwell, Nastassja Kinski, and Hunter Carson. The screenplay was written by L.M. Kit Carson and playwright Sam Shepard, and the distinctive musical score was composed by Ry Cooder. The cinematography was by Robby Müller. The film was a co-production between companies in France and West Germany, and was filmed in the United States."
This review reportedly contains spoilers. I can handle the truth.
Didn't completely fall in love with it (not that I set my expectations that high), but I can't deny that it's a very remarkable piece of work that I'm still chewing on. It's totally engrossing for the entire runtime, and the five main performances are all wonderful; I'd give special shout-outs to Hunter Carson, the second child in a Wenders film (after Yella Rottlander in Alice in the Cities) who never seems like he's acting, and Dean Stockwell, who on paper has the least interesting character in the movie, but effortlessly gives him so much heart and humanity that he turns him into a guy everyone wishes they had for a brother.
The overall idea/point - Harry Dean Stanton's mythic,…
It took me way too long to catch up with this brilliance.
This movie has been haunting me for the last several days. For some reason, I had a misconception about what this movie was about. For some reason, I thought it was going to be a dusty slog through a barren wasteland, not the cross-country journey of the heart that it is. (Part of this confusion was because someone I knew once called it the slowest movie he'd ever seen and that "nothing happens." That person is dead to me.)
I still don't feel like I can do the movie justice. I need to think on it a spell.
" Film-goers and critics alike are often quick to say of poignant, unsettling circumstances: “I can imagine what that felt like.” But not here. Not this moment. We can’t imagine. Because none of us have faced this form of hopeless loneliness as head-on as Travis."
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…