'PARIS, TEXAS' FROM WIM WENDERS 1984. 2014 修復版
(另有副導演、實習導演)
簡單、小投資，卻感人、幾乎"不朽"。
(1985年在德州一個月，雖然小村如Seguine 等住過 2周，Huston 等去過，然而體驗的，與影片差別大......)
該次拍片因緣，另外促成WIM WENDERS 2 ~3本的攝影；
『Written in the West』、著ヴィム・ヴェンダース、独 Schirmer/Mosel社、 1987年 ヴェンダースがロケハンの時に撮影した写真をまとめた風景写真集。2015年には、ヴェンダースが2001年にパリスを再訪した時に撮影した写真を追加した改訂版が、アメリカのD.A.P.社から出版されている。In 1986, the photography Wenders took on his location scout for Paris, Texas was exhibited at the Centre Georges Pompidou in Paris, France, under the title Written in the West.[75] In 2000, these were published in a book also titled Written in the West, with additional material in Written in the West, Revisited in 2015.[75]
坎城影展金棕櫚獎，堪稱影史最完美的公路電影之一，
▍巴黎，德州 Paris, Texas
08/26（三）18:00｜08/29（六）16:40
導演：Wim Wenders
1984│普│DCP│146 min│英語發音│中文字幕│西德
★ 1984 年坎城影展金棕櫚獎
崔佛斯被人發現精神迷亂地遊走在高速公路旁，
The film is accompanied by a slide-guitar score by Ry Cooder, employing Blind Willie Johnson's "Dark Was the Night, Cold Was the Ground", which Cooder hailed as "the most transcendent piece in all American music"
| Paris, Texas | |
|---|---|
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Theatrical release poster
| |
| Directed by | Wim Wenders |
| Produced by |
|
| Written by | |
| Starring | |
| Music by | Ry Cooder |
| Cinematography | Robby Müller |
| Edited by | Peter Przygodda |
Production
company |
|
| Distributed by | 20th Century Fox |
Release date
|
|
Running time
| 147 minutes[2] |
| Country |
|
| Language | English |
| Budget | $1.8 million |
| Box office | $2.2 million[3] |
'PARIS, TEXAS' FROM WIM WENDERS
- Paris, Texas
- Directed by Wim Wenders
- Drama
- R
- 2h 25m
By
When, eventually, he stumbles into a seedy little trailer camp, he collapses before he can open a soft-drink bottle. The man, who refuses to talk, is more or less threatened back to life by an ominous, German-accented doctor who, going through the man's pockets, finds a Los Angeles telephone number, which he calls.
These constitute the opening scenes in Wim Wenders's initially promising, new ''road'' movie, ''Paris, Texas,'' written by Pulitzer Prize- winning playwright Sam Shepard (''Buried Child''), whose screenplay was adapted by L. M. Kit Carson. The movie, the winner of the grand prize at this year's Cannes Festival, will be shown at 8:30 tonight at Avery Fisher Hall to conclude the 22d New York Film Festival at Lincoln Center, and will open here commercially some time in November.
The desert derelict is eventually identified as Travis (Harry Dean Stanton), whose younger brother Walt (Dean Stockwell), a prosperous manufacturer of road signs, flies from Los Angeles to Texas to reclaim the brother who has been missing and presumed dead for four years.
As Travis and Walt begin their long drive back to Los Angeles - Travis sitting silently in the back while Walt drives, ''Paris, Texas'' looks as if it's going to be another classic Shepard tale about sibling relations, explored most effectively in Mr. Shepard's current Off Broadway hit, ''Fool for Love,'' and in his ''True West,'' which recently concluded a long run at the Cherry Lane Theater. Travis and Walt could be first cousins to the brothers in ''True West,'' in which one brother is a foul-mouthed, possibly psychotic thief and the other an uptight, fastidious fellow who aspires to become a screenwriter.
''Paris, Texas'' begins so beautifully and so laconically that when, about three-quarters of the way through, it begins to talk more and say less, the great temptation is to yell at it to shut up. If it were a hitchhiker, you'd stop the car and tell it to get out.
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''Paris, Texas'' has the manner of something to which too many people have made contributions. One problem may be that Mr. Shepard is the kind of writer who writes best when he writes fast. No matter how serious he is, he's also funny. His art - and his temperament - do not seem to adjust well to the sort of long, collaborative process by which movies are made. ''Paris, Texas'' seems to be a movie that's been worried to death.
Though Mr. Wenders is fascinated by the American scene, as he has shown in his ''Alice in the Cities,'' ''The American Friend'' and ''Hammett,'' his feeling is as much the result of his knowledge of American movies as of the first-hand experience out of which Mr. Shepard writes. He has a sense of humor, but it's more theoretical than actual.
The first half of ''Paris, Texas'' is Shepard at his best, as, gradually, Travis begins to respond to Walt during the drive to California. At one point, Travis shows Walt a snapshot of a scrubby field in Paris, Texas.
Walt: ''How come you got a picture of a vacant lot in Paris, Texas?''
Travis: ''I bought it.''
Walt: ''You bought a picture of a vacant lot?''
Travis: ''I bought the lot.''
Travis, it turns out, believes that he was conceived in Paris, Texas, and he's always had the dream of one day moving there with his wife, Jane, who has been missing almost as long as Travis, and their small son, Hunter, who has been living with Walt and his wife, Anne, since his parents disappeared.
What has Travis been doing during these last four years, and where is Jane? I've no doubt that, left to his own devices, Mr. Shepard would have come up with a resolution to these mysteries that would have provided a far more satisfactory payoff than the one arrived at by the playwright working in collaboration with the director and Mr. Carson. Mr. Shepard's method is to distill from ordinary experiences and feelings a reality that is so dense it appears to be surreal.
This is exactly the quality that illuminates the first half of ''Paris, Texas,'' when Travis, back in the middle-class environment of Los Angeles, attempts to establish some sort of connections with Hunter, played with enormous, comic self-assurance by Mr. Carson's seven-year-old son, also named Hunter.
Life in the small Los Angeles house is not easy for any of them. Anne (Aurore Clement) is afraid that if Travis takes the boy away, it will somehow threaten her marriage to Walt. Walt is torn by his affection for his older brother, for the boy and for his wife. The boy can't reconcile having a foster father he adores and a real father he doesn't know and whose shabby appearance is - well - embarrassing to him in front of his friends.
Travis is at loose ends. He can't sleep and, on his first night back, he spends the entire night shining every pair of shoes in the house.
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The film is wonderful and funny and full of real emotion as it details the means by which Travis and the boy become reconciled. Then it goes flying out the car window when father and son decide to take off for Texas in search of Jane (Nastassja Kinski), Hunter's long-lost mother. Everything suddenly becomes both too explicit and too symbolic. It's not giving anything away to reveal that what the movie - rather tardily - seems to be all about is the difficulty in communication between men and women, nor that the sequences in which this is demonstrated are awful.
Mr. Stanton, who can be seen currently in the riotous ''Repo Man'' and will be remembered for, among other things, his performance in John Huston's ''Wild Blood,'' is a marvelous Shepard character. Every foolish endeavor in American history appears to be written in the deep lines and hollows of his face. There is a gentleness about him that at any moment may erupt in inexpicable violence.
Mr. Stockwell, the former child star, has aged very well, becoming an exceptionally interesting, mature actor. Miss Clement, whose French accent is a bit thick for someone who is supposed to have been living in California for a few years, is also moving as Walt's baffled wife. Miss Kinski, however, is memorably miscast. The more she tries to act, the worse her performance becomes, which is more than unfortunate, considering the importance of her scenes to the end of the film.
Prominent in the supporting cast are Bernhard Wicki, the German director who appears as the menacing doctor early in the movie, and John Lurie, one of the stars of ''Stranger Than Paradise,'' who does a tiny walk-on here for Mr. Wenders, who was one of the earliest supporters of that Jim Jarmusch film.
As photographed by Mr. Wenders's long-time associate, Robby Muller, ''Paris, Texas,'' a French-German co-production made in this country, looks great. However, the film, at best, is extremely diluted Sam Shepard.
The Cast PARIS, TEXAS, directed by Wim Wenders; written by Sam Shepard; adaptation by L. M. Kit Carson; photography by Robby M"uller; edited by Peter Przygodda; music by Ry Cooder; produced by Don Guest. At Avery Fisher Hall, as part of the 22d New York Film Festival. Running time: 145 minutes. This film has no rating. Travis Harry Dean Stanton Jane Nastassja Kinski Walt Dean Stockwell Anne Aurore Clement Hunter Hunter Carson Doctor Ulmer Bernhard Wicki Carmelita Socorro Valdez Crying Man Tom Farrell Slater John Lurie Stretch Jeni Vici Nurse Bibbs Sally Norvell Rehearsing Band The Mydolls
Correction: Oct. 20, 1984
Saturday, Late City Final Edition
Paris, Texas
DirectorWim Wenders
WriterSam Shepard
StarsHarry Dean Stanton, Nastassja Kinski, Dean Stockwell, Aurore Clément, Hunter Carson
RatingR
Running Time2h 25m
GenreDrama
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