Paris, Texas

Name: Paris, Texas
Genre: Drama
Released: November 2, 1984
Duration: 145 min
Rating: 81
Cast: Aurore Clément, Bernhard Wicki, Claresie Mobley, Dean Stockwell, Edward Fayton

1984

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Universal acclaim based on 13 Critic Reviews

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USER SCORE

Generally favorable reviews based on 51 Ratings

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7.7

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7.7	User Score Generally favorable reviews based on 51 Ratings

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Movie Details & Credits

Argos Films | Release Date: November 2, 1984 | R

Starring: Aurore Clément, Bernhard Wicki, Claresie Mobley, Dean Stockwell, Edward Fayton, Harry Dean Stanton, Hunter Carson, Nastassja Kinski, Sam Berry, Viva

Summary: Travis Henderson, an aimless drifter who has been missing for four years, wanders out of the desert and must reconnect with society, himself, his life, and his family.

Director: Wim Wenders

Genre(s): Drama

Rating: R

Runtime: 145 min

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Critic Reviews

100

The Guardian Guy Lodge

So many mood pieces sustain their mood only as far as the closing credits; the blissful melancholy of Paris, Texas endures with recall and association, however distant from one’s last viewing. Cannes has rewarded many a great film, but none that is quite so permanently, ever-retrievably embedded in my sense memory. Read full review

100

Roger Ebert

Then there are the miracles of the performances by Harry Dean Stanton, Nastassja Kinski and Hunter Carson. Read full review

100

The Guardian Peter Bradshaw

It is an eerie, sad story whose meaning disappears over the vast horizon as if on a highway heading away through the desert. Read full review

Holly Willis

It’s indeed a beautiful film, one that will surely convince doubters that Muller is one of the cinema’s best cameramen. He gives the story a surface polish that hints of Edward Hopper and Georgia O’Keefe Americana paintings. Some images are positively breathtaking. Read full review

Joseph Jon Lanthier

Paris, Texas may be missing a crucial piece of authentic Americana, but it still evokes an America most Americans yearn to gaze on. An America as thorny and carnivorous as a hawk talon, as raw and smug as a downtown mural, and as sweetly enigmatic as a vacant lot that doesn’t—that can’t—exist. Read full review

Jonathan Rosenbaum

Like Wenders's other road movies, this is largely about the spaces between people and the words they speak—Antonioni updated and infused with German romanticism; the various means of indirection through which the hero communicates with his son (Hunter Carson) and wife (Nastassja Kinski) constitute a striking motif. Read full review

Bill Cosford

Paris, Texas is thus a curiosity. On balance it seems overblown and rickety, as substantial as tumbleweed. And it seems to be less than the sum of its two major parts, the script by Shepard and the images by Wenders. Still, it's an essential entry into the Wenders file, full of hollow portents and signs signifying little. And it would be worth seeing for Stanton's performance alone. [8 Feb 1985, p.8]

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User Reviews

MattBrady99

Jun 9, 2020

“Every man has your voice.”

‘Paris, Texas’ is one of the best art-house westerns out there. A slow-burn two-and-a-half-hour movie that kept my eyes locked onto the screen. How a movie can be so warm, and gentle hit the hardest in emotions. The movie is long and slow paced, so of course“Every man has your voice.”

‘Paris, Texas’ is one of the best art-house westerns out there. A slow-burn two-and-a-half-hour movie that kept my eyes locked onto the screen. How a movie can be so warm, and gentle hit the hardest in emotions.

The movie is long and slow paced, so of course it’s not going to be for everyone, but then again, every movie isn’t for everyone. However, movies like these are a special type of breed that cannot be duplicated so easily if you tried.

Watching this movie without knowing a single thing about it added so many layers of mystery that perfectly placed me in the main characters head. Travis Henderson (Harry Dean Stanton), once a family man, but now a silent drifter walking aimless in the Texas desert while having amnesia on certain parts of his life. He has become a worn-out and raggy version of himself, which leaves the audience wondering why. His brother Walt (Dean Stockwell) finds him and helps to recollect his memories, while also reuniting him to his son, sister in-law, and eventually his wife. So as Travis is retracing his steps and rediscovering forgotten memories, you are with him all the way until the end.

Harry Dean Stanton is excellent as Travis, a man fallen into a black hole of emotions. He may not be a great father or husband, but tries his best to mend the wounds he caused in the past and to leave a personal impact on his son Hunter. Stanton subtle approach of bringing a character like Travis to life is truly extraordinary, because Stanton draws more into Travis gentleness while also displaying the pain behind his kind smile. There were many instances in the movie that I thought that if any other actor played the role, they would have easily over done it for dramatic effect, but Stanton deadpan and yet natural delivery made certain scenes more effective.

A solid child performance from Hunter Carson, who plays Travis's son who is also named Hunter. The scenes between the two were the sweetest elements in the movie and brought a warm smile to my face.

Natassja Kinski plays Travis’s wife, who does not appear until the third act, but when she does, she is instantly hypnotic to watch. An actress of pure beauty and raw talent. Her quiet and soft-spoken voice made her presence even more remarkable, because how something so simple can leave the biggest impact. She spends most of her scenes in one room, and yet I totally bought the chemistry between Stanton and Kinski, which is impressive considering the two are never in the same room together and share only two scenes in the movie. All the emotions from Kinski comes from her reaction and demeanour, so with every flicker of her eye and long pauses communicates so much of her emotional state that a million words could not. It’s unbelievable.

The conversation scene towards the end is one of the finest achievements in cinema. Painful and revealing that even if you don’t cry, you will think about crying. It is as moving as anything I think I have ever seen. I’m getting teary eyes just thinking about it.

I find it fascinating how a German director like Wim Wenders approaches the portrayal of family life in America, because Wender leans more towards the sad elements in order to destroy the illusion of the perfect family life. It is not all doom and gloom, but it is not all sunshine and rainbows too, just real enough for the audience to attach themselves to the characters and story.

The score from Ry Cooder is fantastic and plays perfectly in sync with the Texas setting. The music also represents that dry, lonesome, and reminiscent of the past. It is the type of music that makes you feel sad, but the weird kind of sadness that you enjoy.

Perhaps the biggest standout in the whole movie is Robby Müller’s cinematography. Everything from the breathtaking landscapes of the Texas desert where the scorching heat cannot stale the colours of the environment, while Müller shows us a distant land stretching further away. The other is light and colour that is drenched in vibrant neon. The whole movie has beautiful visuals that helps create the overall mood of the movie while also giving it a foreign feel. It has some of my favourite shots ever.

Overall rating: A devastating, but hypnotic movie that stirs emotion in me like no other. An absolute masterpiece.… Expand