Aging Cuban musicians whose talents had been virtually forgotten following Castro's takeover of Cuba, are brought out of retirement by Ry Cooder, who travelled to Havana in order to bring the musicians together, resulting in triumphant performances of extraordinary music, and resurrecting the musicians' careers.
The story follows an underground weapons manufacturer in Belgrade during WWII and evolves into fairly surreal situations. A black marketeer who smuggles the weapons to partisans doesn't ... See full summary »
A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along... See full summary »
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 <email@example.com>
During the scene in the Texas airport, Dean Stockwell's character is on the phone with his wife. The PA announcer can be heard saying "A message for Joy Stockwell, Joy Stockwell. Austin will arrive at any minute." Joy was Dean's wife and Austin, his son, was born during production of this film. See more »
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 »
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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