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Paris, Texas (Criterion) (1983)

Cast: Harry Dean Stanton, Nastassja Kinski, Dean Stockwell, more...
Director: Wim Wenders
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Rating:
Studio: Criterion
Genre: Drama, Quest, Road Movies, Criterion Collection
Languages: English, Spanish
Subtitles: English, Spanish
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Synopses
Paris, Texas (Criterion) (1983)
Travis (Harry Dean Stanton) is wandering through the Texas desert, a bit shaky and in desperate need of water, when he stumbles into a bar and collapses. A German doctor of dubious credentials finds a phone number in Travis' wallet, which belongs to his brother, Walt (Dean Stockwell). Walt is shocked to hear about his brother's condition, since no one in the family has seen or heard from Travis in four years; Walt flies to Texas to bring him home, only to find Travis wandering by the side of the road, and they begin the long drive back to Los Angeles, where Walt lives with his wife, Anne (Aurore Clement), and Hunter (Hunter Carson), Travis' seven-year-old son. At first, Travis refuses to speak and is oddly distant, but in time he begins to talk again, and when he arrives in California, he begins the painful process of reacquainting himself with his son and trying to reconcile with his wife, Jane (Nastassia Kinski). ~ Mark Deming, All Movie Guide

Paris, Texas (Criterion) (Bonus Disc) (1983)

Bonus Disc Features:

  • Video interview with Wenders by German journalist Roger Willemsen
  • Excerpts from a 1990 documentary on Wenders, featuring interviews with Wenders, cinematographer Robby Müller, composer Ry Cooder, actors Harry Dean Stanton, Dennis Hopper, Peter Falk, and Hanns Zischler, novelist Patricia Highsmith, and director Samuel Fuller
  • New video interviews with filmmakers Allison Anders and Claire Denis
  • Wim Wenders Hollywood April '84, a segment from the French television program Cinéma cinémas, showing Wenders and Cooder at work on the score
  • Deleted scenes and Super 8 home movies
  • Gallery of Wenders's location-scouting photos
  • Behind-the-scenes photos by Robin Holland
  • Theatrical trailer

Rate, discuss, and blog about this film at Filmaster.


GreenCine Member Ratings

Paris, Texas (Criterion) (1983)
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7.61 (202 votes)
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Paris, Texas (Criterion) (Bonus Disc) (1983)
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3.00 (1 votes)
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GreenCine Member Reviews

Art for the sake of art - not for the audience by emdoub October 26, 2012 - 4:39 PM PDT
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Acclaimed by critics and film buffs alike, this is remarkably unwatchable. The pace would have to be doubled to make it all the way to leisurely, the dialog is remarkably inane, the characters have no depth, no apparent motivation for their actions, and no apparent notice of the characters around them. Long, pointless vistas of barren landscape are apparently rave-worthy cinematography.

Bring a book to read - the occasional glance at the screen is all you'll need.

A Mute Point by RJones3 February 25, 2009 - 9:25 AM PST
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2 out of 4 members found this review helpful
This movie has won the general acclaim of critics, so why do I hate it? I think the main problem is the writing of Sam Shepherd. Shepherd knows how to impress the critics, but he does not know how to write dialogue. The main character is conveniently mute for the first twenty minutes of the movie. It is eventually revealed that he suffered a traumatic marriage breakup four years before, but the missing four years remain a mystery, even after his brother protests with the movie's only obscenity. Some of the most poignant speeches of the movie are directed into a voice recorder for later use by the interlocutor. Symbolic perhaps of the modern failure to communicate? Or simply a lazy way to forward the action? Even when characters are talking to each other, one is usually revealing his/her inmost thoughts while the other prompts with one-word questions. The speeches are dragged out to such length that at one point I thought my DVD player had broken down. When there is no real interaction between characters, the logic of the dramatic action suffers. That leaves the question of whether the final resolution makes sense, or whether it raises more questions than it answers. Critics love ambiguity.

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