Customer Reviews

Paris, Texas [VHS]

5 star:		(57)
4 star:		(11)
3 star:		(4)
2 star:		(4)
1 star:		(5)

 

 

Sam Shepard, the actor-writer, wrote this beautiful film; his friend Wim Wenders directed it. This is a cinematic emotional masterpiece with a core that points straight to the things we love and says, Are we in love with them as they are, or as we imagine them to be?

The title is a perfect representation of this point; it's the town where Travis, played by Harry Dean Stanton in probably his best role on screen, was conceived and where his father said his mother was from, without giving the name of the state, only the town. Paris--as in France--is the fantasy. Paris--as in Texas--is the reality. Did his father love his mother for what she was, a plain girl from Texas, or what he imagined her to be, a "fancy woman" from France?

Travis has the same problem; he's the real focus of the film and around him the Texas twilight casts long, sad shadows that glisten with hope, brilliant colors, and soon to be approaching night. In him's a heart that's torn between his love for what he knows and for what he wants to run away from, between his son, Hunter, his ex-wife Jane, and himself. The only one of these he knows is real is his son, who's the second core of the film. Hunter is the reality of his marriage to Jane, the one thing he knows is solid and true and right in front of him.

Nobody makes films like this anymore. This was done in 1984 and deservedly won a Palmes d'Or prize at the Cannes Film Festival, one of the top awards given to a film director.

Nobody makes films with this much heart anymore. Things have changed.

Things have changed.

This is my very favourite movie of all time. This is a perfect film. From Robbie Mueller's breathtaking cinematography, to Ry Cooder's haunting score everything is an excercise in beauty. (Lead actor) Harry Dean Stanton conveys a disturbing yet gentle portrayal of desire, fatherhood, and loss with great lucidity and pathos. Also noteworthy is Nastasja Kinski, whose chemistry with Stanton is unparalleled in recent cinema. The story is certainly one of Sam Sheperd's finest, as is L.M Kit Carson's nuanced adaptation (he wrote the screenplay--and his son plays Hunter, the child star of the film). While this film is a fine achievement in every aspect it is not for the impatient. Some have called it "slow moving," and it is definitely slow in its pace, but one needs time to savour a film of such subtlety as this. Paris Texas is a film that should not be left out of any serious collection, and is a must see for anyone who still regards filmmaking as a craft. I have lost count of how many times I have watched this film and shared it with others.

This film is a German-French coproduction, so it is interesting as a product of how Americans are viewed by the Europeans. Every scene seems to contain images of something that is decaying or something that is being built. Cars are everywhere. Expansive desert vistas mirror the barrenness of the main character's inner life. Motion is seen as an antidote to pain. The final confrontation between Harry Dean Stanton and Nastasia Kinski is very moving, and the plight of Stanton's character at the end of the film is heartbreaking.

Suppose you had lost everything you ever wanted, and it was your own fault. How would you try to get it back? That's the situation facing Travis, who deals with his loss by starting over--literally, tracing his life back to the place where he was conceived. As the story unfolds, Travis realizes that you can't always get everything back...but sometimes, if you're willing to pay the price, you can make up for past mistakes.

It's not a flashy movie. But if you have the patience to sit and watch it, you'll be left with a feeling of being overwhelmed by the quiet drama of life that the movie holds. I hope it comes out on DVD soon. And that music...wow.

I wouldn't recommend "Paris, Texas" as a blind buy but if you are a fan of the film this is the ultimate edition compared to the arid DVDs that have appeared before. If you've never seen the movie you may want to rent it first to see if it's to your taste; Wim Wenders' film blends European style filmmaking with an almost literary approach to a story about a man who mysteriously disappears and then, suddenly, pops up gradually resuming his old identity and life. It's a mystery without a conclusion that doesn't focus on the why or how but on the journey back to self discovery. As such, the deliberate pacing may not be to everyone's taste but if you can appreciate the film the performances are brilliant particularly Harry Dean Stanton who must play a man that contains all of his guilt, doubts and emotions. If you can appreciate the films of Terence Malick ("Badlands", "Days of Heaven", "The New World" and "The Thin Red Line") you'll enjoy Wenders work which, at least superifically, has much in common with Malick's work.

"Paris, Texas" comes across as the visual equivalent of a tone poem; Travis (Harry Dean Stanton) mysteriously shows up after 4 years in the desert. Travis would claim to remember nothing about his past if he would speak--everyone assumes he's mute until they are able to contact his brother Walt (Dean Stockwell) who with his wife has been raising Travis' son Hunter (Hunter Carson) as his own. Travis has returned to rediscover his life and undo the past as best he can including locating his estranged wife Jane (Natassja Kinski)who disappeared sending Travis on his own lost journey into Hades.

Based on stories written by actor/playwright Sam Shepard, adapted by L. M. "Kit" Carson and directed by German director Wim Wenders ("Wings of Desire", "The American Friend", "Buena Vista Social Club")"Paris, Texas" makes the landscape as much a character as those we are following in the film. Having said that, this film is acquired taste with a pace more in keeping with later indie films (and, in fact, the feel of "Paris, Texas" has much in common with the films that Terence Malick made at the time and continues to make)--it's much more a mediative piece on the loss of self, memory and Travis' attempt to reclaim what is lost after trauma.

The Criterion edition features a stunning looking HD transfer (at one point you can see vultures circling over prey in the distance). There is a depth only hinted at on previous transfers, colors pop and the film has been scrubbed of flaws. Ry Cooder's marvelous score has never sounded so good with a rich sounding lossless presentation.
The special features (which are always a highlight of Criterion editions)are exceptional: we get excerpts from a 1990 documentary on Wenders featuring interviews with a wide variety of admirers and collaborators from Peter Falk to novelist Patricia Highsmith (who wrote "The American Friend"); an interview with Wenders, new video interviews; a 1984 French TV special about Wenders' work; deleted scenes and super 8 home movies from the film are also included and we get a gallery of Wenders' scouting location photos. The original theatrical trailer is included plus we get an excellent audio commentary from Wenders, behind the scene photos and a booklet with critic Nick Roddick's essay on the film as well as vintage interviews with Shepard, Kinski, Stockwell.

For fans of "Paris, Texas" the Criterion edition is the standard on Blu-ray (and DVD). The film has never looked better nor has it ever received such a lovingly detailed history on its production. Highly recommended.

Wim Wenders' remarkable film is preserved in a wonderful widescreen format. Special features include commentary from Wenders, deleted scenes, and a short film depicting the actors making an entry into Cannes, where the film won top honors in the early 80s. Harry Dean Stanton's Travis wanders on foot through southern Texas and Mexico for four years following a devastating breakup with his wife Jane. Jane, at one time a wild spirit who sought a life of adventure, leaves their son, Hunter, with Travis' brother and sister-in-law. The film depicts Travis' return from his emotional abyss and his attempts to reunite his family. This is a story of guilt, remorse, and loneliness, which confronts honestly the complexities facing a shattered family.

It's not surprising that Wim Wenders production company is called 'Road Movies'. In the vast majority of his films geography is just as important as characterization and plot. So it is with 'Paris, Texas', where the remarkable vista shots give some sense of the awe and wonder the average European must feel when confronted with this vast American landscape. Originally, Wender's vision was much larger in scope. He wanted the Harry Dean Stanton character to zig-zag his way across the entire country hoping to capture the enormous contrasts of the landscape. In the end though screenwriter Sam Shepard persuaded the German director to base the core of the movie in Texas as this could easily represent the U.S. as a whole.

It's rather unusual to see America through the eyes of a European film crew. The film has a slow, observant quality that contrasts sharply with prevailing American dramas where constant close-ups try to make you feel more involved with the characters. In 'Paris, Texas', Wenders lets the quality of the acting speak for itself without recourse to sentimentality.

The last part of the film was unscripted and tends to drag a bit, but Stanton's understated performance keeps you glued to the screen as the story unfolds. Ry Cooder's score adds a traditional American soundtrack that somehow manages to be something much more ethereal. A poigniant score that colours the film's theme of hope and longing.

Paris,Texas is one of the best films of the 80's and it deservedly won a prize at the Cannes Film Festival in 1984. This is a film that takes it's time developing it's characters and is not concerned with delivering a intricate story line. Instead, the film concerns itself with exploring intricate emotions. It is a painful story about loss, alienation, and the need to reconcile with the past. Director Wim Wenders, Writer Sam Shepard,and Cinematographer Robby Muller all did splendid work with this film. The music by Ry Cooder is also excellent and perfect for the film. The acting is what stands out the most though. The performances in this film are some of the best I have ever seen and that is the biggest reason the film has such a powerful emotional impact. The film remains truthful and believable from start to finish. You wont find any sentimentality or sensationalism in this film. Paris,Texas is a film that is both hauntingly beautiful and achingly sad. It's a film that makes us question our collective ideals, particularly materialism, and makes a moving statement about the power of the family. It saddens me that this film isn't as appreciated as it should be. Paris,Texas is a perfect example of what films should be. I hope it emerges on DVD soon.

Before you rush out and buy the "Paris, Texas" (1984) DVD based on the many glowing reviews and comments, you may want a bit of a reality check. The film is 145 minutes long, that's almost two and a half hours. And not much happens during this time. The pacing is about on the level of "The Straight Story" (1999), which was only 112 minutes; so if that film had you climbing the walls you should probably steer clear of this one.

On the other hand "Paris, Texas" is a technical masterpiece with great photography, excellent directing, and solid performances from the entire cast (although that cast is small). And it's a lyrically told story about loss, loneliness, and eccentricity; a look America and American values from an outside perspective (in this case European). I'm not sure that the film's message(s) is gotten across (unless you listen to the commentary feature on the DVD and maybe not even then) but it is certainly more coherent than when Michelangelo Antonioni tried to do the same thing in the early 1970's.

The film opens with a wanderer walking alone in the desert. You eventually learn that this is not Howard Hughes but Travis Henderson (Harry Dean Stanton), that he has been missing the past four years, has semi-amnesia (a lot is made of this but the condition is never adequately explained), has a seven year-old son name Hunter (Hunter Carson), and a wife named Jane (Nastassia Kinski). Kinski fans will be somewhat disappointed as she does not even appear until the last third of the film (except briefly in some grainy home movies).

The film could actually be classified as a "buddy picture-road movie" or two buddy picture- road movies. The first third features Travis and his brother's (Dean Stockwell) journey from Texas to LA, the final third Travis and his son's journey back to Texas. The weakest part is the middle third which serves little purpose other than providing some background details and linking the two journey segments.

Because "Paris, Texas" is not your standard pre-sold commercial product, most of its suspense comes from the viewers themselves, who have little idea just where the film is headed. So if you watch a lot of films and are jaded because everything is so predictable, this movie viewing experience should be a nice change of pace.

Because you haven't met these characters in other films, it takes a lot of storytelling to flesh them out, which is probably the biggest reason for the film's extended running length. Sam Shepard's script is not so much elliptical as it is evasive, somehow the characters tell us their most basic beliefs and deepest fears without really revealing anything about themselves (insert "Two Lane Blacktop" here).

German New Wave director Wenders gets an astonishingly unaffected performance from young Hunter Carson, as convincing as any you are likely to find. Carson never did much after this amazing debut.

The most intriguing sequences take place between Stanton and Kinski. The actors are never face-to-face as their characters speak to each other from opposite sides of one-way mirror. Travis has found Jane working in a seedy shop where lonely men pay to talk to women on the telephone.?

The DP fills the screen with images of people dwarfed by vast, distant, and impersonal land/ cityscapes. The most effective and original is a sequence of Travis walking along a bridge over a LA interstate with the audio supplied by an unseen (until the end) and rambling derelict addressing the bumper to bumper traffic rushing by below.

Then again, what do I know? I'm only a child.

Been working as a bus driver, Ive been on the road most of the time. I really love this movie. Pictures, landscapes, and that guitar sound lingers on my mind whenever Im driving. When I first saw it on TV I was hooked, I got lost to its absolute beauty, I think now I found the movie that ive been longin for for a long time. You spend most of the time wondering what really happen to travis while at the same time enjoying the picture perfect cinematography, and of course the always beautiful Nastassja Kinski delivers it most when its needed, and who would ever forget that poetic dialogue between travis and jane, whom many considered the highlight of the film.
Watch it and enjoy.