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