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Paris, Texas (1984) Plus avec IMDbPro »

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127 commentaires au total

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81 utilisateurs sur 96 ont trouvé ce commentaire utile :
Do I envy people who don't like this movie?, 3 avril 2001

Auteur : (fred@cabq.org) de Albuquerque, NM

It's hard for me to select just one movie as my very favorite, but if I had to, "Paris, Texas" would probably be it.

As I recall, I first saw it while I was a student in a small theater in '84 or '85; a year or two later I recorded it from cable to Beta tape. After not having watched it for years, I've played it again a few times over the last couple of years. Many movies I recall having liked in the past are just big disappointments when I watch them years later. That's not the case with this one! Then I was single; now I'm married. That alone makes a big difference, but I also find that even some small elements now have more meaning. I previously attached no significance to the scene where Travis was determined to find the same rental car in which he and Walt had previously driven. But how often people do sentimentally and fiercely cling to, objectively, unimportant things in reaction to having had their hearts and spirits broken more than a few times over important things. I often recall this scene when observing some instance of this in myself or others.

I am struck by what opposite opinions people have of this movie. If you have few problems relating to other people, or you don't care much about relating to other humans, and little in your life disappoints you over long spells of your life, you will probably find this movie very boring. I sort of envy people in this situation, though before I would want to wish myself to be like that, I pause at how much my life would be changed and how little of my personality would be left, if I did.

I, too, eagerly await the release of this movie on high quality DVD, and hope that my still barely viewable Beta will last til then.

"Oh, Travis."

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85 utilisateurs sur 105 ont trouvé ce commentaire utile :
Life-altering. The greatest film of all time., 11 septembre 2002

Auteur : (pschwiesow@interfold.com) de Longmont, Colorado

I first saw this film almost fifteen years ago and thought about almost nothing else for at least a month. I have never seen a film before or since that presents the extremes of love, pain, and loss with such immediacy and ruthless candor. Watching this film with openness, identifying with the characters, made me wince and writhe in sympathetic agony. I didn't cry; rather, I was reminded of all the times I have wept in my life, and why.

Perhaps each person person has a film -- usually a masterpiece -- which affects him or her so strongly that it is beyond description. This is mine.

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49 utilisateurs sur 62 ont trouvé ce commentaire utile :
Second American best film of the eighties, 5 mai 1999

Auteur : Joseph Harder (jah5y@virginia.edu) de warren michigan

It might seem odd to call this an "American" film, as its director, Wim Wenders is a German film director, who , unlike his predecessors, Lang, Murnau, Pabst, Von Sternberg , and Billy Wilder, has chosen to remain aloof from the Hollywood film industry. But Paris Texas is as much an American film as Tocquevillle's "Democracy in America" is an American book. Sometimes it takes a foreigner ( In Wim Wenders' case, a foriegner who loves American music, American movies and American literature.) to look into the American soul. In this case,it helps that he is working with a great-and misunderstood- American writer, Sam Shephard, and a great-and under appreciated- American actor, Harry Dean Stanton. I can not begin to convey who poetic, how haunting, and how beautiful this film is, and how artfully it probes the American heart. The scene where Stanton confronts his wife, and tells what he did and why he did it, must rank among the supreme scenes, not just of film, but of human life. It echoed the great scenes of our literature, such as Ulysses meeting with Penelope, and the return of the prodigal son. In short, the only film which goes beyond it in the eighties is Raging Bull, and that is largely because of the volcanic power of Scorsese, that most self-crucifying of auteurs. in short, I would go so far as to say that Paris Texas is more than a "ten'...Like Citizen Kane, like 2001, like Andrei Roublev, like Raging Bull , like the Searchers, like Pickpocket, Tokyo Story, Seven Samurai and Ordet,it is an ELEVEN. Sublime AND beautiful.

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28 utilisateurs sur 34 ont trouvé ce commentaire utile :
A tale of redemption, 26 février 2005
Auteur : Dan DeVore (ztruk2001@yahoo.com) de Iowa

Paris Texas is a slow, moody, and delicate study about a man who once ran away from everything and now is coming to terms with himself and learning to forgive himself, by finally facing he people he turned his back on. The Wim Wenders directed movie still today rests in a fairly under recognized status, which doesn't stretch the term "cult classic" when applied to it. Paris, Texas is about redemption, the road, family, and the bleakness of the American Southwest. It contains one of the most memorable and unusual openings ever. We hear Ry Cooder's lonely single note twangy guitar on the soundtrack with cinematographer Robby Müller (Barfly, To Live and Die in L.A. , Dead Man) capturing the majestic vistas, rock formations, and the open desert in his camera. Actor Harry Dean Stanton walks out of the dry and desolate landscape, wearing a wornout black sports jacket and dusty red baseball cap. It's a beautifully staged opening sequence. A perfect start to a perfect movie. This man is lost and in need of being found. It's his brother played by actor Dean Stockwell ("Quantum Leap", Blue Velvet) who gets word of Stanton's whereabouts and goes after him, which begins the journey of redemption. Nastassja Kinski plays Stanton's young x-wife and the true love of his life. Kinski, the daughter of legendary German actor Klaus Kinski, doesn't make her entrance into the film until the later reels, but her lingering presence is felt throughout. It's almost the same type of thing that Coppola did by not having Brando appear in Apocalypse Now until the conclusion. The scenes that Kinski does have in the end with Stanton are some of the best moments ever captured on film. They're highly emotional and will cause even the most hard-hearted to shed a tear. Both Stanton and Kinski are very subtle and understated in their acting. It's true to their characters. Eight year old Hunter Carson plays Stanton's biological son, who was raised by his uncle (Stockwell). Carson certainly deserves mention in any conversation about great child performances on film. Paris, Texas is a masterpiece. There's no way around it. It's a movie that slowly reveals itself putting the audience right in the shoes of Stanton, who also is trying to remember his past and face it. The story was penned by playwright and actor Sam Shepard, though he doesn't appear in the film. Shepard, a very good playwright, has outdone himself with Paris, Texas surpassing his perhaps more well known, True West. Paris, Texas is a film that must not only be seen, but experienced. Sure the pacing is extremely slow, but as an audience member, use that to your advantage to suck in the picturesque orange southwest desert against the deep blue skys, and the poignant acting, and haunting soundtrack. There's no reason not to treat yourself to this uniquely American masterpiece meditation. It would make a great nightcap for a triple feature with two other simular themed American films, The Searchers and Taxi Driver.

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29 utilisateurs sur 38 ont trouvé ce commentaire utile :
Starring: the landscape..., 4 novembre 2000
Auteur : guimo (guimo@altavista.net) de Belo Horizonte, Brasil

I felt so tired of all those comments saying how beautiful the photography is or, for those who havent enjoyed the film, how the photography isnt enough to sustain the whole silentness of the first 2/3 of the movie.

It just sounds like a hollow praise for a hollow minded cute, blonde and gorgeous girl. In fact, it is an offense.

For a director that first was inspired by images and then looked for stories to fill them and give them reasons to be released as films (he says this in a book). Wenders achieves his high technical and vision point concerning his way of thinking, not just film but life in this masterpiece.

He had before discussed the production of images and how this affects our way of seeing and perceiving life. But in Paris, Texas the image, the landscapes really becomes a character, not just to give a good photography and make those 2 1/2 hours that the movie lasts oh!!, so beatiful to watch!!, or to make us get in its atmosphere... The landscapes are so important as the words, or actions, between the characters are, it really touches people surrounded by it, it influences some how their personalities. I mean, each photograme tries to bring this relation.

It is beautiful how Wenders can build his caracters personalities, not by the way they think or act, but what impresses them, what visually interests them - like when Travis is watching not the airplane, but its shadow on the ground while it takes off.

After all that, i can just say that the rest of the whole story is made by really beautiful, touching and delicate situations of a man's life trying to reorder the lost pieces from a puzzle.

And, yes, the conversation between Travis and his ex-wife by the last half hour to the end is one of the most touching moments seen on the screen.

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25 utilisateurs sur 32 ont trouvé ce commentaire utile :
Slow paced film of cinematic excellence, 11 mai 2004
Auteur : Graham Stanford de Bethlehem, PA

This film is a classic in my opinion. The story is very strongly influenced by its writer's, Sam Shepard, exploration of the human condition. The film is not for everyone. Wim Wenders paces the storyline accordingly to the psyche and struggle of the main character, and the concept of searching for answers to his natural state of mind by returning to the place of his conception is a well thought out and intriguing premise for this film.

I have seen this film more than seven times, and love the slow pace because it allows me to be drawn into that world completely and really have the chance to get to know each character. Recommended to anyone with an interest in psychology, cinematography, Sam Shepard's style of story-telling, and movies that walk to their own beat. Natascha Kinski and Stanton are excellent.

I give it 8 stars (9 if they would release it letterboxed on DVD)

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28 utilisateurs sur 38 ont trouvé ce commentaire utile :
An experience not to be missed, 27 décembre 2004

Auteur : sprig63 de Royaume-Uni

Moody, slow, absorbing, you lose yourself in this 'love lost' and in many ways tragic story. This film was probably an early warning to us all of how life can easily overwhelm without us realising it. It is also virtually unique in the successful portrayal of a man who is deeply lost in his innermost thoughts that the outside world becomes almost a minutiae. Mr Stanton encapsulates this mood perfectly and this is probably his best performance ever. The most moving scene (and there are many) might be when he reviews some old cine film of his life (a normal happy love story which surely could not have gone wrong so badly)before he walked away from it all. I can't help but think this is a real life epistle which could be a marker for how life has overtaken the human race in the last 20 years.

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27 utilisateurs sur 38 ont trouvé ce commentaire utile :
A European View Of America, 14 septembre 2006
Auteur : Lechuguilla de Dallas, Texas

At face value, the screen story, about a dysfunctional family, is weak. The plot is not really credible. The lead character (Travis) is an older man who in the first ten minutes of the film wonders alone in the desert like a horse with no name, seemingly suffering from severe trauma. But Travis' later behavior and the behavior of other characters in the film are not believable, given this opening gambit.

However, if we discard our need to interpret behavior rationally, then the film works, either as a dream or, more generically, as a parable of modern day America, from the viewpoint of a European film director. The characters and their journey through the film's story are symbolic of American culture as a whole, with its ever-present loneliness, urban alienation, emotional separation, and general rootlessness.

The film's visuals and music combine to prop up the thin story, and give the film its enduring cultural theme. Cinematographer Robby Muller's images are stunning. His location shots both in the desert and in the urban jungle, using polarizing filters, are works of true photographic art. The images, with their florescent greens, reds, blues, and yellows in dim light are just terrific. More than any dialogue could, these visuals effectively convey the loneliness, alienation, and lost love that are so characteristically American. And Ry Cooder's simple but haunting Tex-Mex guitar sounds amplify this grim mood.

The film's main flaw is its length. With a runtime of 150 minutes, some parts of the film could have been edited out, without loss of the film's message.

"Paris, Texas" is a memorable art house film about the modern American experience. Like other art house films, the story is not necessarily to be taken literally. Instead, the story provides narrative support for the visuals, the music, and other film elements, the combination of which imparts some broader or deeper social message than could be conveyed by story alone.

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14 utilisateurs sur 17 ont trouvé ce commentaire utile :
Unique portrait at family life in early 'eighties America., 13 décembre 1999

Auteur : Brian A. Cagayat de San Diego, CA, USA

"Paris, Texas" is by far one of the best films ever made. It's a well-photographed film; it's almost like a portrait. In the center you have the characters: Travis, Walt, Hunter, Jane, and Anne; and all around them you see the desert and the empty space and the places they inhabit. The major characters are all memorable, especially Harry Dean Stanton as Travis and Dean Stockwell as Walt.

The film is about reunion. The first third of the film, dealing with the reunion of brothers Travis and Walt in the Texas desert, is both very touching and very real. You can sense the frustration on Walt's face when Travis doesn't want to talk to him about anything, and throughout the road trip, you begin to get more interested in Travis' ramblings to Walt about Paris, Texas.

The second third deals with the reunion of Travis with his son, Hunter, and, to a lesser extent, since he's only been gone for less than a week, the reunion of Walt with his wife Anna and Hunter. This is by far my favorite part of the film, because it shows a young boy (Hunter) trying to readjust after his father returns after a four-year absence. Hunter (by the way, he's a great actor) is nice to Travis at first, but refuses to walk home from school with him because "Everyone drives." The fact that director Wim Wenders focuses on this little portion of the film shows true family life--it expands the little "sin" that Hunter has done. This event sets up perhaps my favorite scene in any film: Hunter and Travis walking home "together"--on opposite sides of the street--with the boy mimicking the movements of his real father. In the following scene I'm touched because the neighborhood reminds me of home--Hunter stops and allows his father to cross the street to join him. There is also a scene (also with no dialogue) that deserves mention--the family watching Super 8mm film of a family fishing trip. Here we see Jane for the first time (a beauty), and we get a portrait of the happy family while the film plays background music for us. It's a wonderful scene that's executed beautifully. The film of the fishing trip allows Hunter to make an observation to Anne about his father--he sees by the way Travis looked at Jane that Travis still loves her very much.

The last third of the film comes as a real shock, and I won't spoil it for anyone because this third of the film is what made me REALLY love the entire film. The sequence of events in the final third actually came out of left field, because I was never really expecting that. You should have figured out, though, that there is a reunion between Travis and his estranged wife, Jane. Harry Dean Stanton's monologue is perhaps one of the best ever caught on film. It's really long but you hear every word and every pause. And what I like about that particular scene is the lighting--notice how the sunlight comes in through the window in Jane's room, and suddenly near the end you realize that it's been artificial light after all. There is a similar lighting effect in "A Clockwork Orange"--during Alex's chat with F. Alexander and his two co-conspirators over wine and spaghetti.

Overall, "Paris, Texas" is a great film that should be noted both for its photography and for its realistic look at family life. These are people who are a real family--opinionated, angry, happy, sad, melodramatic, judgmental, high-strung, incommunicado, etc. They refuse sometimes to admit their true feelings and that is exactly what makes a family a family sometimes, the fact that you can't say what you really want to say at a certain time.

This is the kind of film directors really want to make--small, realistic, poignant...and with zero special effects.

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12 utilisateurs sur 14 ont trouvé ce commentaire utile :
The Continued Development of the Dark Romance with Cinema, 5 décembre 2005

Auteur : David H. Schleicher de New Jersey, USA

*** Ce commentaire peut contenir des spoilers ***

Directed by cinematic lyricist Wim Wenders, "Paris, Texas" is a slow-burning masterpiece. Marked at first by stark, beautiful photography of the American Southwest, later by memorable dialogue and conversational intercourse, and lastly by sublime and emotionally involving character development, the film transcends the idea of an atmospheric mood piece to deliver an engrossing meditation on loneliness, alienation, family, and redemption.

Character actor Harry Dean Stanton is fantastic in the lead role of Travis -- a man who had fallen into an emotional black hole and is then reunited with his brother (Dean Stockwell), who has been raising Travis' young son, Hunter (Hunter Carson), in an idyllic and loving suburban landscape with his foreign wife, Ann (Aurore Clement). As Travis slowly begins to grapple with his past and bond with his son, he soon realizes he must find his long, lost wife, Jane (an excellent and understated Nastassja Kinksi), whom he still deeply loves on some level, and abandoned their son years ago shortly after Travis went off the deep end.

This all could've been the plot of Lifetime TV movie, but the European filmmaker's perspective on an all American slice of melodrama adds an undercurrent of intrigue in that you never know what these characters are going to do next. We soon find Travis practically abducting his son (who eagerly plays along) from his happy new family life to go on a trek to Houston to find Jane.

The closing in scene in a Houston hotel where son and mother are reunited is one of the most fascinatingly rich scenes ever put on screen. Rarely does any one scene work to engage a viewer on so many levels:

Firstly: There is a complex psychological framework that is set into place in the scenes prior between Stanton and Kinski in the peep show booth where she now works which are two of the most expertly photographed and brilliantly acted scenes I've ever witnessed. Travis has confessed all to his lost love, Jane, and she is clearly in dire straits. His attempt to reunite her with their son is both selfish (in that it is clearly not in the child's best interest to be raised by his emotionally troubled mother when he has loving foster parents waiting for him back home) and selfless, in that he truly feels his only way to repair the damage he has done is to leave after getting mother and son back together.

Secondly: It is beautifully acted with Kinski's ghost-like entrance and young Hunter Carson's trepidation. Witness his hand slide across the wall looking for something to grip, and then his hands running through his hair before he finally decides to embrace her.

Thirdly: It is exquisitely photographed. Earlier we see scenes of stark isolation as the child waits in the hotel room. Sofia Coppola later used a similar photographic technique in "Lost in Translation" to show how being alone in a big city and looking down from an anonymous hotel room window can be one of the loneliest things in the world.

The final scene is both beautiful and emotional, and at the same time makes the viewer wonder, how will this all end? Yes, it is wonderful to see the child and mother reunite, but their new life could easily turn into an emotional hell because of the now absent Travis' misguided attempt at his own redemption.

A film working on so many levels like this is best summed up in its own dialogue. In one scene where Travis is drunk and telling his son some family history, he essentially says that his father was more in love with an "idea of her" than with his actual mother. This is a fantastic movie for people more in love with the romantic "idea of movies" and their potential power as an art form than with any one movie in particular. As such, this ranks among the best I have ever seen.

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