This is one of two films by Wim Wenders that focuses on a child. "Alice in the Cities", the earlier film, focused on the relationship of a young child with a depressed wanderer, but "Paris, Texas" is more about the wanderer himself. This time, he (played by Harry Dean Stanton) is more than just lost, having gone into the wilderness in an apparent amnesiac stupor. He is found by his brother (Dean Stockwell), who brings him somewhat back to reality. The kid (Hunter Carson) is a central, meaningful key bringing everything together. He is the innocent victim of a confusing circle of jealously and violence that only becomes clear in the final scenes of the film.
"Paris, Texas" is a quiet, quiet film. Sam Shepard wrote a script that is more about actions than dialogue, which makes it all the more curious that the final twenty-some minutes of the film feature little but conversation. The final scene between Harry Dean Stanton and Nastassja Kinski drags on into the heart of darkness, the deeply painful memories of two terribly broken individuals and how they go on with life. This isn't a quick interaction that draws tears to the surface and lets you continue with your life. It dives in deep and doesn't come up for air until every last inch of emotion is pulled to the surface.
Robby Müller, the cinematographer who worked with Wenders on many of his films, helps to make "Paris, Texas" one of the most breathtakingly beautiful visual experiences ever. The colours are so vibrant yet stunningly realistic. For all of its emotional depth, this is a thing of great surface beauty. Inside and out, it is achingly powerful film.
"Paris, Texas" is a quiet, quiet film. Sam Shepard wrote a script that is more about actions than dialogue, which makes it all the more curious that the final twenty-some minutes of the film feature little but conversation. The final scene between Harry Dean Stanton and Nastassja Kinski drags on into the heart of darkness, the deeply painful memories of two terribly broken individuals and how they go on with life. This isn't a quick interaction that draws tears to the surface and lets you continue with your life. It dives in deep and doesn't come up for air until every last inch of emotion is pulled to the surface.
Robby Müller, the cinematographer who worked with Wenders on many of his films, helps to make "Paris, Texas" one of the most breathtakingly beautiful visual experiences ever. The colours are so vibrant yet stunningly realistic. For all of its emotional depth, this is a thing of great surface beauty. Inside and out, it is achingly powerful film.