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 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.
Paris, Texas is about a father reuniting with his son. The film looks and sounds excellent. Colors pop. Some of the acting could have been better. One scene toward the climax is awesome. Available on Netflix Baby-Blu, Paris, Texas is essential viewing.
DVD Combo Pack: Alice in the Cities
Film #30 of the "Scavenger Hunt" Challenge
1. A film you would want shown at your funeral
Just as heartbreaking as I remembered it.
Sometimes I think unbridgeable alienation is my favorite theme in cinema. The other times I think it is the bridging of seemingly unbridgeable alienation. This film has them both in spades, so I guess I'll love it in every moment. One-way mirror for best piece of set design ever.
thrilling until the last scene fades away into the credits
When Paris, Texas begins, we see a lone strange walking through the middle of the desert, nothing to his name but the clothes on his back, and a now empty milk jug of water. There's nothing but rock and sky all around him, shot in beautiful almost panoramic shots, nothing but the earth and desert fading off into the horizon, with a twanging guitar strung in the background, emanating just how empty and pitiful the landscape is.
Once our mystery man is discovered by a...quite strange german doctor, the story kicks off with his brother travelling from LA to pick him up and return him to civilization. As his brother…
Me recordó por momentos a The Last Picture Show y a Nebraska. A destacar la relación padre-hijo y la escena del peep show. Son esos 15 últimos minutos los que hacen grande a la cinta.
El sutil guión de 'Paris, Texas' consigue atrapar desde el principio y llevarte de la mano por una historia que no sabes hacia dónde va, pero no puedes esperar a verlo. Construye a los personajes muy poco a poco y a través de pequeños gestos o diálogos. Al igual que ocurre con el viaje de su protagonista, empieza con pocas palabras y acaba con largos monólogos. La emoción contenida va dando paso a las revelaciones. Va del rojo al verde. Del plano general al plano corto. Hasta que acaba en la yugular.
"Guess something must have cut your tongue off. Either that, or you've got something to hide."
Wim Wenders is the perfect middle ground between Werner Herzog's deluded dreamers and David Lynch's bucolic dark places. So it makes sense the title of "Paris, Texas", while uttered briefly as a legit locale, is above all implied as a geographic dichotomy between perception and actuality. Its narrative opens like the prelude to a particularly existential bar joke -- a man (the aptly enigmatic Harry Dean Stanton) stumbles out of the desert, collapses, and wakes up even further in the middle of nowhere upon an examination table.
Maybe Wenders' most straightforward film (probably why I chose it as my entry point), it also…
A tranquil meditation of finding lost love and relationships. Stupendous cast and breathtaking cinematography will mesmerize you in this one of a kind road movie.
I wish it was my first time experiencing this story
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…