Film for the Soul

Paris, Texas - Watching the 1000 Greatest Films

Under discussion:
Paris, Texas (1983)

Under discussion:

Paris, Texas (1983)

No. 13 - Paris, Texas (Wim Wenders, 1984) Ranked #299

As chosen by the 'Film for the Soul' community

I think it makes sense to be afraid... who wants to fall from a great height? - Travis

Staggering towards the camera, walking out of the vast wilderness of the Texas deserts comes a man (Harry Dean Stanton) who's face tells of a million stories. His clothes are worn, his eyes are sunken and dead, scraggly bearded and with a vague idea of where he's heading the man continues afoot. The camera takes in the terrain in vast cinematic scope, Ry Cooder's music twangs laconically over scenes of deep red mountains, dry and dead tumbleweed and, for good measure, a hawk flies into shot and rests on a rock. Yet the man takes none of this beauty with him, he walks purposely but without compass, hoping that he can walk far away from whatever hell he left behind.

Harry Dean Stanton (Travis)

So begins Wim Wenders Palme d'or winner of 1984, Paris, Texas. The man is Travis and we're told the story of his search, firstly for himself as he recovers his mind and his memory, and then for his family; his abandoned son, Hunter(Hunter Carson), now living with his brother Walt (Dean Stockwell), and his brother's wife Anne (Aurore Clement), and then for his estranged wife Jane (Nastassja Kinski). Travis has been found collapsed, dehydrated and fatigued, in a desolated bar with only his brother's phone number on his person, not knowing where his brother has been these past 4 years he drives out to pick him up, eventually convincing him to come back home.

Travis remains mute for the first 20 minutes of the film, staring blankly ahead into the void, unable, or unwilling, to communicate. His brother, his patience pushed to breaking point, finally yells at Travis, losing his temper with him on the long journey home, pleading with him to speak until finally Travis mutters his first word; Paris. The Paris referred to is not the one of France but of Texas where Travis owns a small piece of land of which he has a photo showing the dry, arid plot, convinced this is the place where he was conceived.

Travis with his son Hunter (Hunter Carson)

Wenders, as the title alludes to, has directed a film with a deeply affecting mix of American and European sensibilities, with the eyes of an outsider Wenders, along with his cinematographer Robby Müller have captured an America that most of its inhabitants take for granted. I was reminded of Vladimir Nabakov's novel Lolita, another foreigner in love with the hypocrisy, pop culture and idolatry of America, with shot after shot of billboards, freeways, skyscrapers, vast deserts and diners, soaking up the Americana as advertised on tv.

Travis slowly tries to build a relationship with his young son, at first, naturally, the young boy wants nothing to do with his father but slowly the natural bond returns, the scene in which Travis picks up his son from school strongly evokes one of the central themes of the film, that of second chances, as well as being a touching and whimsical moment that highlights this films subtlety and maturity. The pair go out in search of Jane, Hunter's missing mother with Travis' motivation at this point still not clear for doing so, or for the reasons why or how this family were torn apart in the first place. All becomes clear however and leads to a bittersweet and touching ending, one that's fuelled by a necessary self-sacrifice.

The beautiful, fragile Jane (Natassa Kinsky)

Not acquainted with Wenders earlier work, along with Wings of Desire this remains the extent of my knowledge of his outlay, I can't compare this to his other American films or to that of his road movies; a matter I intend to correct after watching this marvellous film. However his love of America, especially those films by Nicholas Ray and The Searchers are evident throughout Paris, Texas, from the solitary man walking the desert to the picturesque cinematography, the homages and deep affection seep throughout the film.

Wenders along with playwright Sam Shepard and writer L.M Kit Carson, have given us a film charting a mans descent into madness who stares deep into the abyss and recovers to make things right again. Loss, alienation and isolation have rarely been captured with such poignancy; from the searing music of Ry Cooder to the light shades of red that radiate throughout, Paris, Texas lulls it's viewer into submission with it's refined and delicate approach. To add, just how touching is that final scene between Travis and Jane? For those wishing to revel in that moment again then see below, for those who haven't yet seen the film then try not be tempted but please watch the film as soon as you can.