A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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...…
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…
"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…
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.
Film 6 of ? from my Things I hope to watch in the next five days while my partner is away and I have the house to myself list.
That confession scene was cinema at its very best.
Earns every minute of its 140+ minute running time.
A+ (up from A).
They don't make movies like this no more
This review may contain spoilers. I can handle the truth.
"Paris, Texas" is one of the most beautiful films I've ever seen. If there were no dialogue I would still watch the film twenty times over just to bask in the lush colors, the precise camera movements, the mise en scene, the steel guitar. But there are words, there is a script, and it's breathtaking. Post hushed tones and sparse words "Paris, Texas" culminates in two of the absolute best monologues delivered on screen. Jane and Travis Henderson exchange stories, stories so difficult for each to tell that they must refrain from looking at the other, turn away once again from this person who used to be their everything. Travis' monologue starts innocuously enough,
"I knew these people, These two…
I wasnt lucky at all with the movie and had to pause multiple times.
Still, great movie.
A masterpiece. Part of Brookes curated season
Somewhere out there, there's a better version of reality where Harry Dean Stanton was absolutely decorated with awards for this, was handed a million more roles like it, and retired as one of our most celebrated actors. The one we live in sucks, but at least this movie managed to cross the dimensional plane. This is minimalism at its most potent; the climax is nothing more than a handful of static shots of characters talking held to an almost absurd length, and it's absolutely riveting. This movie did horrible things to my tear ducts.
I think the first thing I'm going to do when Harry Dean Stanton dies is put this on, sink into the couch with all the lights off, and cry for a long time
Na mente as memórias, as filmagens de super 8, e o passado. Todos mal enterrados, esperando para sua redenção. A estrada e o reencontro fazem questão dessa amarra acontecer.
Frank Ocean’s list of his 100 favorite films, as published in “Boys Don’t Cry” on the release of his album,…
inspired by Jack Bower's most recent list, I decided to do an interactive list where you just comment your favorite…