Paris, Texas is a 1984 film directed by Wim Wenders. The screenplay is by L.M. Kit Carson and Sam Shepard, and the distinctive musical score was composed by Ry Cooder. The cinematography is by Robby Müller.
The film stars character actor Harry Dean Stanton as Travis, who has been lost for four years and is taken in by his brother (played by Dean Stockwell). He later tries to put his life back together and understand what happened between him, his wife Jane (Nastassja Kinski), and his son Hunter (Hunter Carson).
The film was a co-production between companies in France and West Germany, but was filmed in the United States.
Title
The film is named after the Texas town of Paris, but no footage was shot there. Instead, Paris is referred to as the location of a vacant lot owned by Travis that is seen in a photograph.
The photograph shows a desert landscape, but in fact the real Paris rests on the edge of the forests of East Texas, far from any desert.
Style
Paris, Texas is notable for its images of the Texan landscape and climate. The first shot is a bird's eye-view of the desert, a bleak, dry, alien landscape. Shots follow of old advertisement billboards, placards, graffiti, rusty iron carcasses, old railway lines, neon signs, motels, seemingly never-ending roads, and Los Angeles, finally culminating in some famous scenes shot outside a drive-through bank in down-town Houston. The cinematography is typical of Robby Müller's work, a long-time collaborator of Wim Wenders.
The film is accompanied by a slide-guitar score by Ry Cooder, based on Blind Willie Johnson's "Dark Was The Night, Cold Was The Ground."
Responses
The film won the 1984 Palme d'Or (Golden Palm) at the Cannes Film Festival. It was screened at the Sundance Film Festival in 1985 and again in 2006 as part of the Sundance Collection category.[1]
In popular culture
- A sample from the film is repeated throughout "She Stands Up" on the self-titled debut of French electronic group M83.
- Irish pop-rock group U2 cite Paris, Texas as an inspiration for their album The Joshua Tree.[citation needed]
- Scottish rock group Primal Scream sampled Nastassja Kinski in the film for use on their critically acclaimed album Screamadelica.
- Both Kurt Cobain[2] and Elliott Smith[3] mentioned this film as one of their favorite movies of all time.
- Brooklyn-based band Nada Surf mentions the movie in their song "Comes a Time" from the album The Weight Is a Gift.
- The last track of Gotan Project's second album Lunático is a cover of Ry Cooder's theme song for the film.
- The Scottish band Travis is named after the main character of this movie and mention the film in their song "New Amsterdam" from the album The Boy With No Name.
- Australian band Cog have a song called "Paris, Texas".
- Scottish band Texas took their name from the movie title
- Francois Bovon was influenced to write Luke the Theologian after he saw Paris, Texas.
- The film is mentioned by the comedy troupe The State in a skit on their MTV television series.
- Los Angeles singer/songwriter Fontaine has a song called "Paris, Texas".
- Instrumental rock band The six parts seven have a song called "From California to Houston, on lightspeed" which uses audio samples from the film. The song's title is also an homage to the film.
- Samples from the original motion picture soundtrack's "I Knew These People" were used by the English electronic group The Orb. The samples appear in the performance of "O.O.B.E" as recorded live in Copenhagen, Denmark on August 29, 1993, released on the Live93 album.
- Video game developer Goichi Suda named it his favorite movie in an IGN interview[1].
- Suda51 also named his character Travis, in No More Heroes (video game), as a tribute to the film's protagonist.
- Lyle Lovett makes reference to the film and Wenders in "The Truck Song" from his album My Baby Don't Tolerate.
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Lackluster
It gets off to an intriguing start, as a man walks in from the desert
kenjha - 3 May 2009after missing in action for four years. The first half of the film,
which centers on Stanton's relationship with his brother (Stockwell)
and his family, is fairly well done. As Stanton heads south to search
for his abandoned wife (Kinski), so does the film, concluding with
Shepard's pompous monologues. It's hard to understand what attracts a
babe like Kinski to Stanton, whose character is bland, selfish, and
some thirty years older than her. The pace is very leisurely, with
Wenders showing no interest in the art of editing. Coder's score
consists of about three notes repeated ad nauseam.
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