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Film: Paris, Texas
Director: Wim Wenders
Country: Germany
Released: May 1984
Runtime: 147 minutes
Genre: Road Movie
Studio: Road Movies / Argos Film
Influenced: Jim Jarmusch, Gus Van Sant, Coen Brothers, Wong Kar-Wai, Kelly Reichardt
Roughly a decade after the classic era of American road movies had come to a close, along came German director Wim Wenders and one of the finest films in the genre. Paris, Texas was both a German-French co-production and German-American writing collaboration between Wenders and playwright Sam Shepard, who starred in Malick's Days of Heaven (1978). The two had previously worked together on the film Hammett (1982), and during that time, they discussed various ideas for future projects. Shepard had written a draft for a play that he intended to develop further into a screenplay, and he showed it to Wenders. The script's themes of isolation, redemption and the search for identity resonated strongly with Wenders, leading them to work together on adapting it into a film.
Paris, Texas follows the story of Travis Henderson (played by the incomparable Harry Dean Stanton), a dishevelled and mute man found wandering in the desert near the Texas-Mexico border. He is taken to a local doctor, who manages to trace him back to his long-lost brother, Walt (Dean Stockwell), in Los Angeles. Walt, shocked by Travis's sudden reappearance after four years, travels to Texas to bring him home. As the story unfolds, we discover that Travis' life has been marred by a painful past and personal tragedies, including the disintegration of his marriage to Jane (Nastassja Kinski) and their young son Hunter (Hunter Carson). Through a series of flashbacks and conversations, we learn about the circumstances that led to his disappearance and his quest for self-redemption.
Paris, Texas is noteworthy for its innovative approach to cinematography, with Wenders and the director of photography Robby Müller using wide-angle lenses and expansive landscapes to create a sense of vastness and isolation. The film opens with Travis wandering alone in the vast Texan desert, setting the tone for his solitude and emotional withdrawal. The film's deliberate pacing and minimalistic dialogue also contribute to its contemplative atmosphere. Travis slowly begins to open up and communicate with his brother and son, and they embark on a road trip back to LA together. During the journey, Travis tries to reconnect with Hunter, who is initially wary of his father due to the long separation. The road trip becomes a metaphorical journey of healing and self-discovery for Travis, as he grapples with his guilt, remorse and attempts to reconcile with his past mistakes.
The film's haunting and melancholic score, composed by Ry Cooder, adds to the film's emotional impact, notably during the climactic and cathartic phone conversation scene between Travis and Jane, where they confront their past and express their feelings. Paris, Texas received widespread critical acclaim upon its release and won the Palme d'Or at the 1984 Cannes Film Festival. Harry Dean Stanton's remarkable performance as Travis is considered one of the best of his career, showcasing his versatility as an actor, while the film also helped to establish Nastassja Kinski as an international star. Wenders' exploration of themes like loneliness, family and redemption made Paris, Texas a touchstone for character-driven indie dramas, while the film also helped to spark a revival in the road movie genre.
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