Paris, Texas (1984)

Calificación de los usuarios:

7.9/10   

Director:

Wim Wenders

Escritores:

L.M. Kit Carson (adaptation)
Sam Shepard (written by)

Fecha de Lanzamiento:

9 noviembre 1984 (USA)

Género:

Drama

Frase comercial:

A place for dreams. A place for heartbreak. A place to pick up the pieces.

Plot:

A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his...

Plot Keywords:

Desert | Hotel | Train | Boots | Husband Wife Relationship

Premios:

Nominated for Golden Globe. Another 14 wins & 5 nominations

Comentarios de los usuarios:

A European View Of America

Reparto

Harry Dean Stanton	...	Travis Henderson
Sam Berry	...	Gas Station Attendant
Bernhard Wicki	...	Doctor Ulmer
Dean Stockwell	...	Walt Henderson
Aurore Clément	...	Anne Henderson (as Aurore Clement)
Claresie Mobley	...	Car Rental Clerk
Hunter Carson	...	Hunter Henderson
Viva	...	Woman on TV (as Viva Auder)
Socorro Valdez	...	Carmelita
Edward Fayton	...	Hunter's Friend
Justin Hogg	...	Hunter - Age 3
Nastassja Kinski	...	Jane Henderson
Tom Farrell	...	Screaming Man
John Lurie	...	Slater
Jeni Vici	...	Stretch

También conocida como:

Motel Chronicles (Alemania Occidental) (working title)
Paris, Texas (Alemania Occidental)
Paris, Texas (Argentina) [es]

Duración:

147 min

País:

Alemania Occidental | France | UK

Idioma:

Inglés

Color:

Color

Relación de Aspecto:

1.66 : 1

Sonido:

Mono

Clasificación:

Iceland:L | Australia:M | UK:12 (DVD rating) (2007) | West Germany:6 | South Korea:15 | Brazil:12 | Australia:PG | Finland:S | Norway:12 | Sweden:Btl | UK:15 | USA:R | Argentina:13 | Singapore:PG | New Zealand:R | France:U | Portugal:M/12

Locaciones de Filmación:

10060 Olivia Terrace, Sun Valley, Los Angeles, California, USA

Compañía:

Road Movies Filmproduktion

Trivialidades:

Composer Ry Cooder recreated blues guitarist Blind Willie Johnson's 1927 tune "Dark Was the Night" as the centerpiece of his Paris, Texas (1984) soundtrack.

Errores:

Continuidad: Travis and his brother check into a small motel on their first night, where we see a dresser with an ugly lamp sitting on top. After Travis runs off, they continue down the road and stay in a larger hotel, where we see the same dresser and light.

Citas:

Walt: I thought you were afraid of heights.
Travis: I'm not afraid of heights. I'm afraid of fallin'.

Conexiones de Película:

Referenced in "Gossip Girl: The Ex-Files (#2.4)" (2008)

A European View Of America

At face value, the screen story, about a dysfunctional family, is weak. The plot is not really credible. The lead character (Travis) is an older man who in the first ten minutes of the film wonders alone in the desert like a horse with no name, seemingly suffering from severe trauma. But Travis' later behavior and the behavior of other characters in the film are not believable, given this opening gambit.

However, if we discard our need to interpret behavior rationally, then the film works, either as a dream or, more generically, as a parable of modern day America, from the viewpoint of a European film director. The characters and their journey through the film's story are symbolic of American culture as a whole, with its ever-present loneliness, urban alienation, emotional separation, and general rootlessness.

The film's visuals and music combine to prop up the thin story, and give the film its enduring cultural theme. Cinematographer Robby Muller's images are stunning. His location shots both in the desert and in the urban jungle, using polarizing filters, are works of true photographic art. The images, with their florescent greens, reds, blues, and yellows in dim light are just terrific. More than any dialogue could, these visuals effectively convey the loneliness, alienation, and lost love that are so characteristically American. And Ry Cooder's simple but haunting Tex-Mex guitar sounds amplify this grim mood.

The film's main flaw is its length. With a runtime of 150 minutes, some parts of the film could have been edited out, without loss of the film's message.

"Paris, Texas" is a memorable art house film about the modern American experience. Like other art house films, the story is not necessarily to be taken literally. Instead, the story provides narrative support for the visuals, the music, and other film elements, the combination of which imparts some broader or deeper social message than could be conveyed by story alone.