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…
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.
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.
In Paris, Texas Shepard/Wenders portray a country in which human relationships and emotions are lost and modernity in shape of endless roads, gigantic bridges, sky scrapers and highways have emptied people of their feelings, the loneliness and depression of modern men and women are the souvenirs of the modern industrial world, the buildings and cars are representing a cold and cruel world in which values such as love and family are no longer available. The depression and anxiety of individuals have made a society which seems to be on the verge of nervous breakdown, a society in which people have problems relating with each other, love turns into jealousy and anger and results in the final downfall of human soul,…
Paris Texas, my latest Criterion purchase, tells the tale of a mute wanderer emerging from the harsh canyons of deep Texas like an ancient figure from a biblical tale.
This mute traveler of the Mohave, (Travis, played marvelously by Harry Dean Stanton) however is not a mute wanderer at the end of the film. Right before the credits roll he is almost the exact polar opposite of what we saw of him at the beginning. He was a lonely man with no personality, backstory, or reason. We feel nothing for him. But at the end he is a man with all of those things: a name, a reason, and a backstory. At the end the movie makes us feel like…
The man comes walking out of the desert like a Biblical figure, a penitent who has renounced the world. He wears jeans and a baseball cap, the universal costume of America, but the scraggly beard, the deep eye sockets and the tireless lope of his walk tell a story of wandering in the wilderness. What is he looking for? Does he remember?
Wim Wenders' "Paris, Texas" (1984) is the story of loss upon loss. This man, whose name is Travis, was once married and had a little boy. Then that all went wrong, and he lost his wife and child, and for years he wandered. Now he will find his family and lose it again, this time not through madness…
My heart has been mutilated.
This movie is agony. It is agony in cinematic form. Around the middle i was thinking, 3 stars maybe 3.5 because to be honest it felt a bit as though it didnt know what it wanted to be. It had some surrealistic touches like the fact that Travis doesnt sleep or the fact that he walks around aimlessly for 4 years but its very real most of the time so i guess it was a bit messy at times, but that fucking ending... The whole last act is just magnificent, i dont have words.
I dont know who that actress is but I love her. With all my heart.
Visually gorgeous, beautifully written and brilliantly acted.
Such a touching story.
This review reportedly contains spoilers. I can handle the truth.
Troubled parents, cute kid, and the best use of the colour red on film since ballet shoes and ruby slippers.
Easily one of my all time favorite scores to any film, beautiful cinematography made somewhat easier by the landscapes, and nearly perfect writing that captures an estranged family in one of the most honest and emotional ways possible (what else can you expect from the incredible Sam Shepard). These are just a few of the many reasons why this film struck a chord on my first viewing, and I am quite positive that this film may go down as one of my all time favorites. There is so much more to say about this film, but the more I think and write the more I just want to hit play and watch it all over again.
real talk. they sell that sweater at h&m.
Three decades on, still king of the road.
Wow. Just wow. I came into this knowing very little, and i'm glad that was the case. I, apparently, have a hard time paying attention to films. But this one grabbed me right away. At the 30 minute mark I just went DAMN. I didn't move, I didn't think about anything else but the film the whole two and a half hours. It was incredible. That conversation in the last half hour holy crap, you can't look away. The camera breaks at exactly the right time and its just amazing. I don't even know how to describe it. JUST WOW.
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
- The Godfather
- Seven Samurai
- The Godfather: Part II
- 12 Angry Men
- Pulp Fiction
most recent update - Thursday, April 10, 2014, 11:23 PM EST
The letterboxd crew has unveiled a new feature that…