A man wanders out of the desert after a four year absence. His brother finds him, and together they return to L.A. to reunite the man with his young son. Soon after, he and the boy set out to locate the mother of the child, who left shortly after the man disappeared. Written by
Ed Sutton <firstname.lastname@example.org>
When Travis and Hunter are following the red Chevrolet from a downtown bank, they merge onto US HWY 59 northbound, just south of interstate 45 and north of the HWY 288 interchange with US HWY 59. After a few moments pass the next shot shows them approaching the HWY 59 and HWY 288 interchange (going northbound on HWY 59). This interchange is located about 1/2 mile south of the onramp they took in the previous shot so there is no way they would have been able to approach this interchange going north on HWY 59 had they taken the northbound onramp in the previous shot. See more »
We live in the suburbs, but I've got my business in town
Oh yeah? What's your business?
I make billboard signs for advertising.
Oh yeah? So *you*'re the one who makes those signs, I love those. Some of them are beautiful.
I'm not the only one who makes them, Trav.
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It might seem odd to call this an "American" film, as its director, Wim Wenders is a German film director, who , unlike his predecessors, Lang, Murnau, Pabst, Von Sternberg , and Billy Wilder, has chosen to remain aloof from the Hollywood film industry. But Paris Texas is as much an American film as Tocquevillle's "Democracy in America" is an American book. Sometimes it takes a foreigner ( In Wim Wenders' case, a foriegner who loves American music, American movies and American literature.) to look into the American soul. In this case,it helps that he is working with a great-and misunderstood- American writer, Sam Shephard, and a great-and under appreciated- American actor, Harry Dean Stanton. I can not begin to convey who poetic, how haunting, and how beautiful this film is, and how artfully it probes the American heart. The scene where Stanton confronts his wife, and tells what he did and why he did it, must rank among the supreme scenes, not just of film, but of human life. It echoed the great scenes of our literature, such as Ulysses meeting with Penelope, and the return of the prodigal son. In short, the only film which goes beyond it in the eighties is Raging Bull, and that is largely because of the volcanic power of Scorsese, that most self-crucifying of auteurs. in short, I would go so far as to say that Paris Texas is more than a "ten'...Like Citizen Kane, like 2001, like Andrei Roublev, like Raging Bull , like the Searchers, like Pickpocket, Tokyo Story, Seven Samurai and Ordet,it is an ELEVEN. Sublime AND beautiful.
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