Review of Paris, Texas (1984) by Reid V — 23 May 2011
Wim Wenders is the ultimate orchestrator of landscapes both internal and external. The external he understands in relation to the people who construct the landscape, shaping even the most barren places with their telephone poles or traffic lights and in so doing, redefining it.
Each frame tells a grander story--of a nation (be it Germany or America, depending on your film of choice). Considered together, we feel we've been told the story of an entire world. (Much like we do when 7 year-old Hunter, sitting in the passenger seat of a Texas highway roadtrip, impresses his father by telling the story of the earth's creation and evolution, volcanic sound effects and all.
) Internally, each character operates--some more freely than others--according to the codes of romantic love. Each action is either an embrace or rejection of this love; each admired deed done--though not always wisely, as is its nature--in its name.
The consequences are as unsustainable (the players as flighty) as is custom with this well of emotions. These qualities, transposed onto the alternately deserted or neon landscape of Texas, and its alternately conservative or else sexually/emotionally passionate (when out of sight) citizens, make for an endlessly relatable and enjoyable experience; its lengthy climax one of the best in all of cinema.
Like Resnais/Grillet with Marienbad before them, this is the ideal collaboration between independently produced writing and a director free to roam as he pleases. Recommended.
This review of Paris, Texas (1984) was written by Reid V on 23 May 2011.
Paris, Texas has generally received very positive reviews.
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