Canon of Film

September 21, 2017

CANON OF FILM: ‘Paris, Texas’

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Written by: David Baruffi
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This week, we will be looking at Wim Wenders‘ classic, ‘Paris, Texas‘ in honor of Harry Dean Stanton, who recently passed. For the genesis of CANON OF FILM, you can click here.


Director: Wim Wenders

Screenplay: Sam Shepard, adapted by L.M. Kit Carson

As much as I admire the leader of the New German cinema movement of the sixties and seventies, R.W. Fassbinder, and as much as I admire, probably the best and most important director in that movement Werner Herzog, if I actually had to pick a favorite New German Director, and one of my favorite directors of all-time, it’d have to be Wim Wenders. I rank his film ‘Wings of Desire‘ among the Ten best films ever made, and all his films–even his less-than-stellar ones–all have this intuit sense to them. It’s not empathy; it’s almost spiritual. While Herzog is constantly searching the world to find the most primitive and improbable of places, circumstances and scenarios almost like a conqueror from a long-ago time, Wenders is always more interested in the human journey, the introspective and observant, almost like he’s pining for something that’s within his reach but he, for some reason can’t quite grasp.

Wenders has a couple other themes that go throughout his films. His films are usually road movies, even ‘Wings…‘ was essentially a road movie as the watcher angels went from one place to another almost randomly, just observing, watching with fascination of the world below. One of his other famous films ‘Kings of the Road,’ was about two guys who drive along the West Germany/East Germany border. Another intriguing aspect about him that keeps coming up is his fascination with the American desert. I’m from the desert so it’s properly lost it’s enchantment to me over the years but one of my old professors from film school was from Germany as he’s talked extensively on how unique the desert is and how many Europeans are enchanted by it, and how there isn’t anything like it in Europe; I suspect that he felt even a more personal kinship to Wenders than I do. Wenders has made a few movies that take place in American desert, two involving Sam Shepard. Most of you are probably know Shepard’s work as an actor, but he’s actually a Pulitzer Prize winning playwright, and wrote the ori script for ‘Paris, Texas,’ and it’s by far the most successful adaptation of one of his writings to the screen. Shepard also likes road movies, and his characters are lost souls struggling to find something, usually a person, and usually involving a desert, and often Western movie archetypes or figures, even in modern day settings. ‘Paris, Texas’ is actually a pretty perfect match for both director and writer.

The plot itself isn’t particularly unfamiliar, in fact, just like Martin Scorsese‘s ‘Taxi Driver‘, this film could be considered a remake of John Ford‘s film ‘The Searchers‘, a very loose remake to be the sure, but the inspiration is clear. After years wandering the desert, Travis (Harry Dean Stanton), and yes the name Travis comes from Travis Bickle, although considering how little else they have in common. that’s very deceptive, but anyway, he collapses in a Texas bar. His brother Walt,  in California (Dean Stockwell) goes to pick him up, after long-thinking he was dead. He finds him mute, and with amnesia, and very unwilling to go with him. Finally he gets him to his home where Walt and his wife Anne (Aurore Clement) have been raising his son Hunter (Hunter Carson, the son of the co-screenwrter Kit Carson) after Travis and his ex-wife Jane, (Nastassja Kinski) both went missing. Stanton is one of the greatest actors to have graced the screen, and could easily have easily been a movie star if he chose to, but he typically lended himself only to the most creative of projects and characters. He was one of the more eccentric actors in Hollywood, let’s say. (If you haven’t seen the documentary about him, ‘Harry Dean Stanton: Partly Fiction‘, I recommend it.)

After Travis finally starts talking, he confesses he was on a journey to a piece of land that he owned in Paris, Texas, where reportedly his father had met his mother years ago. In his mind, he was probably conceived there, thinking he could return to the place where he first started. I’m not particularly a fan of revealing the details of the film’s story; to me, it works best as a deconstructionist work, where we reveal the film slowly, especially considering how drastically different the film’s ending is from it’s beginning. But–without saying too much–Travis begins reuniting with his son and even more slowly begins to readjust himself to reality, as he slowly recalls the reasons for his journey for the last few years. Eventually going out back to Texas to find his wife and bring together his family again. He finally finds Jane working at a peep show with a two-way mirror. These scenes, especially the last one, not only involves great acting, incredible lighting by Wenders’s legendary Cinematographer Robby Muller, but also much regret and sadness as both confront the failures of their love together and of themselves. I guess you can call this a sad film about sad people, about a person who’s trying to save a family that might not be worth saving, but the film is spiritual in tone. Like an epic western about life, family and love and the perils of them. How they can lead down different paths for different people, and how life is a journey which even at it’s most stable is filled with unpredictability that can shockingly and suddenly change everything for the better or for the worse, and how easily and quickly it can shift back again, even while still being haunted by the past.

Paris, Texas,’ among film scholars easily ranks as one of the best American-made films of the 1980s, although–other than the Palme D’Or at Cannes–the film didn’t win any major awards, not even for Robby Muller’s lighting. Understandable, to some extent, it’s not flashy, there’s no major stars, it’s slow moving, but that just makes it more poignant and unforgettable. It’s not a film about “regular people” per se, but it’s a film about extraordinary and fascinating people that we just hadn’t seen in a movie like this before, a beautiful poetic tale about a man who lost everything, struggling to regain it all, even as deep down, he knew was and Quixotic and impossible goal. There’s almost a sense that he’s cursed or destined to make thing right, like the Gods are telling him nothing will be right again, unless he goes through this personal journey into Hell, where you don’t come back whole, but as complete as you’re ever gonna get again.

About the Author

David Baruffi
David Baruffi
David Baruffi has been a successful unemployed screenwriter for, let's be vague and call it "years". He's got a B.A. in Film Studies from UNLV, is a certified script supervisor and has done a little bit of everything in film, but mostly is a writer. Personally on his own blog "David Baruffi's Entertainment Views and Reviews" which is at,and professionally has written several scripts and stories, for himself, and for others and as a ghostwriter. When he's not doing that he watches his autistic brother most days and he looks like two old puppets.


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