All the films from all the editions, including those subsequently removed, presently totalling 1177. 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.
"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…
"I never felt like you were dead. I could always feel you walking around and talking, someplace."
It's so rare a film manages to be so emotional without feeling exploitative.
It's heartwarming, heartbreaking, down-beat, slow and pessimistic, yet all together it's a masterpiece in deep dramatic screenwriting. Paris, Texas is an underrated gem, it's incredible how much depth is given to even the most insignificant of situations. From the child's actual personality, which almost never happens in movies for some reason, to the arc of Travis across his journey, it's completely engrossing. Within the opening seconds you know the vibe of the film and are instantly curious despite no words being said.
The silent protagonist angle was done perfectly. It creates a mystery, allows the brother to be introduced and means the story unfolds to the audience…
Lost in purgatory. Trapped there by your mistakes. Holding onto one last dream. Resurrected. Time to put away dreams. It's time to correct your mistakes. It's time to be responsible.
Everything from the scenery, to the acting, to the simple twangy soundtrack by Ry Cooder and the simple touches of Wim Wenders direction... Simply perfection.
I was disappointed. The hype was too much. A very overrated film, but definitely not a bad one. I didn't find myself very engaged with the journey of the protagonist and the supposed "powerful" reveal at the end honestly did nothing for me.
I don't know, maybe I watched it at a bad time...
Beautiful and heartbreaking.
This review reportedly contains spoilers. I can handle the truth.
It was very special to see this on the big screen.
The compositions are so good. Also, the use of color throughout. The car is the same color as the sky. Lots of other examples, like a character's shirt - Dean Stockwell in yellow - matching the wallpaper in a room.
Just like in The Third Man, we keep hearing about Kinski for almost two whole hours. And with the exception of a little bit of Super 8 movie and a photo of her, we don't get to see her until the final reel of this movie. But her first appearance, at the bar in that pink sweater, is amazing. The way she turns around. Really something.
The boy who…
Paris, Texas is a truly brilliant film that resonates with you. It breathes life and what it's all about. The score is phenomenal and has a cold feeling to it, and the cinematography shows the beautiful landscape of Texas like I've never seen it before. Harry Dean Stanton has a very human performance in the film. It's a remarkable piece of American cinema.
Leave it to the already dreamy atmosphere of Wim Wenders’ filmography to reach its highest level of quality with "Paris, Texas"; a movie breathing boldly to such a degree that it seems to sustain itself completely within the story’s themes of existence and death. Wenders makes the camera a voyeur and makes the art direction echo such emotions; opening up private lives with the use of the frame and the swiftness of his main character’s ambiguity. The movie is, above all things, about how on this earth we must make ourselves of importance - or just fade away and be entirely forgotten as even existing. Uncomfortable thoughts brought poignantly to the forefront.
America, as a concept, often manifests itself in broken anti-heroes, valiant underdogs, and cruel, hyper-masculine alpha males; Paris, Texas takes these various tropes and rolls them into one to create Travis Henderson, a man who now lives solely for the sake of making a redemptive sacrifice in order to help reunite the family he could've been a part of. Wenders' grasp on what drives America is astounding given the fact that he's German, his choice to set the film in the desolate stretches of West Texas an insightful means of tapping into the classic, manifest-destiny attitude that drives the country towards growth for the sake of it and fuels its peoples' perpetual belief in a better tomorrow. His story of…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…