German director Wim Wenders is one of those film makers who is worshipped by majority of critics, can expect prestigious festival awards and has small but dedicated fan base while, at the same time, failing to reach broader audience. One of the rare titles in his filmography to breech that barrier was his celebrated 1984 drama Paris, Teaxs, film that even managed to penetrate segments of popular culture.
The plot begins with an impressive aerial shots in West Texas desert that reveal the protagonist (played by Harry Dean Stanton), mysterious drifter who stumbles into bar before collapsing from exhaustion and dehydration. The man is apparently mute, but local doctor (played by Bernard Wicki) discovers phone number among his possession and contacts Walt Henderson (played by Dean Stockwell), successful Los Angeles entrepreneur. It turns out that the mysterious man is Walt’s brother Travis, who had disappeared four years ago and after which Walt and his French wife Anne (played by Aurore Clément) took care of Walt’s young son Hunter. Walt decides to bring near-catatonic Travis to his home and, along the way, Travis gradually restores his voice and sanity. In Los Angeles he begins to reconnect with Hunter (played by Hunter Carson) who doesn’t remember his biological father. Travis and Hunter ultimately decide to go on a quest in Texas in order to find Hunter’s mother and Travis’ wife Jane (played by Nastassja Kinski).
Loosely based on Motel Tales, book by celebrated American playwright Sam Shepard (who also co-wrote the script), Paris, Texas represents one of the most accessible titles in Wenders’ filmography. This is mostly due to relatively simple plot and almost archetypal characters. Wenders, on the other hand, seems to be more preoccupied with style over substance and uses the story as an opportunity to pay homage to his Hollywood westerns by using various locations of American Southwest, although with more contemporary bent. Thus the audience is given impressive vistas of arid landscapes, sprawling Los Angeles suburbs and, finally, Houston skyscrapers, all lovingly captured with cinematography of Wenders’ old associate Robby Müller. Composer Ry Cooder also contributes a lot to this film and the opening theme is one of the most recognisable pieces of his career.
However, it is the acting that allows this film to truly shine. Harry Dean Stanton, one of the most prolific and the most dependable character actors in history of Hollywood, was given rare opportunity for starring role and he used it with gusto. He portrays Travis in a minimalist but very effective way, creating credible transformation from pathetic wreck into the man who, although tortured with guilt and remorse, wants to do the right thing. This is especially evident in the famous scene that takes place in peep show parlour and in which Stanton delivers one of the most powerful monologues in history of cinema. In that he is aided by Nastassja Kinski, actress who appears relatively late in the film and does job good enough to make the role of Jane one of the most iconic in her career. Former child actor Dean Stockwell is also very good in the role of Travis’ brother and this film helped him to maintain Hollywood career as another dependable character actor. Hunter Carson, son of co-writer L. M. Keith Carson, also does good job although his presence at times bring somewhat unpleasant memories of overly manipulative road films featuring adorable child characters that used to be rage among AMPAS voters in next few decades. The main problem of this film, at least for more modern and presumably less patient audience, is its pace. With nearly two and half hours of running time, Paris, Texas at times looks annoyingly overlong. Those who appreciate Wenders and arthouse road films, would appreciate this film nevertheless.
RATING: 7/10 (++)
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