The greatest films of all time as voted on by the Criterion subreddit using a ranked top 10 methodology from…
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.
"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...…
"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 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…
Some very powerful scenes, and beautiful cinematography in this oddly structured film that is essentially two road stories. It probably could have been about 20 minutes shorter, but it is not a conventional type of movie, so the length might be more related to wondering where it will end up, rather than feeling it is too long. Wenders manages to tell these strange kind of stories, and I like them.
First time watch. Visually perfect. Completely absorbing.
My second time seeing Wenders's early masterpiece (perhaps not his first, but for many, his best), this time thanks to the Austin Film Society, and what a remarkable restoration. Its color and vivacity were more real for me thanks to the Argos Film 4k DCP developed in 2014 than this film has ever felt to me.
I like this movie very much.
Quiet, patient, brutal and beautiful. This is the complexity of relationships in film form.
It's honest. It's human. It's the most beautiful film I've ever seen.
This review may contain spoilers. I can handle the truth.
There are three pretty distinct acts to Wim Wenders' breakthrough film Paris, Texas, with the best of the three undoubtedly being the final hour of the film with Harry Dean Stanton's Travis confronting his ex-wife Jane and giving a lengthy sorrow-filled confessional.
The least enthralling bit of the film is the middle section of the film, which has Travis living with his brother Walt (Dean Stockwell) and trying to reconnect with his son Hunter. While this section is really merely a way to transition from the roadtrip-style first act and the final act, you do end feeling quite back for Walt and his wife. Here you have a man, who has practically adopted his nephew, after his brother disappears for four years, only for said brother to re-appear and practically kidnap his son to try and reunite him with his mother.
Still, that final act was sure worth the 2 1/2 hour runtime.
Recently I was contemplating making a list of my favorite scenes in film, but I decided that instead of just…
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