I saw this many years ago in a theater, and I was blown away. I’ve watched it many times since, but just this time I was struck by how incredible the last 20 minutes are. First there is the overlap of the two faces in the booth. The, as the dialog progresses from on view to another, the roles subtly reverse in both narration and situation, swapping who is looking whose back. Still upset that Travis left in the end.
Un des films majeurs des années 80… La plus belle scène d'amour du cinéma (enfin une des meilleures bien sûr) et… une bande son énorme de Ry Cooder… Sam Shepard au scénario, qui met à l'image ce qu'il avait déjà décrit dans son merveilleux Motel Chronicles. (pas réédité, pffff)
Appreciated what I took to be the central theme of the film, 3 men from the same family (with the same propensity to idealize women iinto something that they are not and the trouble that brought (the father saying that his wife was from Paris, Walt marrying a french woman and Travis' obsession with his young bride). This is the redeemable quality of the film, which otherwise appeared hollow to me.
Là où l'image cinématographique augmente les dimensions qu'ouvrent les dialogues. Il y a du sublime mais cette fois en nous, en l'Homme, il n'est dépassé que par son essence propre, la nature impassible porte, le paysage porte, l'Homme passe, dérisoire et vit le big bang tous les jours comme Jane entend la voix de Travis tous les jours. Cela forme un tout et l'émotion est à son comble. Grandiose
“I never felt like you were dead. I could always feel you walking around,- talking, someplace.” I’m biased. There are some parallels between my life and Hunter’s, so I’m sentimental about this one. The soundtrack, the colors, the landscapes, a screenplay from the late, great Sam Shepard, it’s all fantastic stuff. Plus, Harry Dean Stanton was one of the best to ever do it.
It's a fact that Win Wenders have always worked hard in his cinematography with cool frameworks, colours and scenes. I guess that in his most iconic film those things that characterise him are at their best. Nevertheless, it's a story about loneliness and incapacity to fight against out fears and flaws. A visual lesson to be learned showing that we cannot make a future without ignoring the past.
Lost in an America that overvalues the representation of reality, Paris doesn't offer easy solutions for finding one's way out of the jungle. Its elliptical ending only obfuscates whether the representation (billboards, motels) is where the self is lost or found. This writer-ly quality only minimally detracts from the majestic, painterly 3 quarters, an achievement in image that required no dialogue at all.