Every film from Roger Ebert's "Great Movies" essays.
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…
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…
Wim Wenders Paris, Texas is the closes I seen to a perfect film (I needed to put that out there).
In a time of fast cuts, is good to see Wim Wender taking his time and allowing the film to breath giving weight to every scene.
The cinematography is exquisite, I could pause any scene and hang it on my wall, the use of color gives the film a life of it's own.
Paris, Texas is a haunting film of endless melancholia and redemption, a film that will stay with you for a long time.
Before watching this film, for some reason I had thought it would be a boring and pretentious movie. I was completely wrong about it because Wim Wenders’ Paris, Texas was a powerful, heart-wrenching, poignant and highly emotive drama.
Starring Harry Dean Stanton in a superb performance as a man who has lost his path in life, a man who disappeared for four years without ever trying to reach his family, that one day is found by his brother, who with his wife has taken care of his 8-year-old son for all this time. Little by little he tries to reconnect with his son who has very little recollection of him and has now been adopted by his uncle and aunt.…
Different than I was expecting in the best possible way. I had always assumed this would be a lengthy art-house fair, but to my surprise this is an enjoyably rich family drama in the spirit of those made by Hollywood in the 60s and 70s.
It never for once feels like the 150 minutes it runs for, thanks almost entirely to Harry Dean Stanton's sublime performance. There are moments when he breaks down the wall between the audience and film and makes you feel like you are watching real people. The lengthy final scene between Travis and Jane is riveting, it is a scene I'll never ever forget - the way Stanton unfolds his story and wraps everything together is…
This is a stunning film. It has a beautiful story and heartfelt, powerful performances. Harry Dean Stanton creates such an interesting, restless and mysterious character with his character Travis. Seeing him connect with his son he abandoned years earlier is a touching story which makes the end of the film much more of an emotional impact. The look and feel of the film portray a lavish, vibrant and lonely backdrop for the story to unfold and the score by Ry Cooder lays down a quiet mood that only adds to the wonderful film. I dare anyone who watches this to not be deeply moved by the third act when Travis confronts his old lover and has to make a heartbreaking decision. It's a great film that deserves to be seen.
It's too long and didn't grip me in the middle but by the end, all of that was forgotten. There are two gorgeous monologues in the final twenty minutes, which the film is undoubtedly leading up to throughout (I'm listening to one of them as I type this) and it's so gorgeously shot, so beautifully written and so fantastically delivered that it leaves you deep in thought as the end credits roll. Spellbound.
For that scene alone, it's hard to give the film anything less than four stars and although slow and perhaps not the kind of thing you should stick on at 7.30am on a Sunday morning (whoops), it'll leave you feeling both happy and sad at the same…
Anoche apenas vi este filme del '84 y se convirtió en uno de los mejores que he visto (ojo, no uno que considere de los más importantes ni de mis favoritos). Paris,Texas con su sólido guión, impecable dirección y fuerte composición visual son de esas películas que no te sacudes sus imágenes tan fácilmente de la cabeza. Me arrepiento de no haberla visto antes pero a la vez me gusta haberla visto apenas ahora (y en bluray). No le hagan caso al poster chafa al estilo de película de los Almada, esta película es una joyita del desierto.
This review reportedly contains spoilers. I can handle the truth.
Took me 30 years but I finally crossed it off the shame list. After watching the excellent documentary about actor Harry Dean Stanton I felt the obligation to finally watch it. Funny how it really mirrors the actor's life. Wenders direction, Robby Mueller ' s cinematography, Sam Shepard ' s script and Ry Cooder's guitar score are just perfect. A beautiful film to look at.
I went into this movie knowing very little beyond the blurb - the only aspect was that I heard it was a movie that you have to see before you die. And you must.
Often, I let a movie stew before I really know what my thoughts are of it. For once, this movie made a big impact on me. That is emotionally, mentally and to know how a movie can be made. It is easily amongst my 25 favourite movies of all time and it looks to be staying there for a long-time.
From the first shot, everything looks beautiful. Wide shots of the dessert starts what is to be a long, slowly-unwinded movie that builds layers as you…
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