Written by Sam Shepard and directed by Wim Wenders, “Paris, Texas” is a road movie that’s ultimately about troubled parents, loss, and connection. The film begins in southwest Texas as the camera travels over empty, grand, landscapes of rock and dust until we come upon a man wandering alone through the vast expanse. The lone figure is clad in jeans, a suitcoat, and a worn red baseball cap, his face sunburned and craggy, he has but a jug of water that he empties before continung onward. Eventually he comes across a small building that juts out from the nothingness. It’s a local watering hole, he enters, grabs some ice out of a freezer, and then passes out.
We soon discover that this man’s name is Travis (Harry Dean Stanton) and that he’s been lost wandering the desert for roughly four years after a Doctor (Bernhard Wicki) finds and calls Travis’ brother Walt (Dean Stockwell). Walt flies out from Los Angeles to retrieve his long lost brother, and after several false starts- Travis has a tendency to get up and walk away- they then embark on the road trip back home as Travis will not fly. This first third of the movie Travis is essentially mute, and despite all of his brother’s attempts to get him to talk back and tell him where he’s been this whole time, he barely utters a word until he slowly begins to reintegrate into society and seemingly remember his past, who he was… and is. Turns out that Travis had a wife and a son, and that Walt and his wife Anne (Aurore Clément) have been raising Hunter (Hunter Carson) as their own ever since Travis’ disappearance. The second act takes place in L.A. as Travis lives at his brother Walt’s home with Anne and Hunter. It’s a slow going reunion, but eventually both Travis and Hunter realize that they both remember each other and begin to reconnect. It’s rather charming in its own way.
Later, after the family watches some old footage of a beachside vacation before everything went to hell, both Travis and Hunter are entranced by the appearance of the missing wife and mother, Jane (Nastassja Kinski). This spurs the two to throw caution to the wind and depart to Houston, Texas on a hunch that they can indeed find her. The third act is mainly of father and son reuniting to rediscover their Jane. We also get a deeper realization of what each parent has gone through after Jane is found and they both take turns trying to explain to the other their deep existential crises, their sadness, and regret. It’s easily the best scene of the film with Harry Dean Stanton giving a powerfully emotional monologue. Strangely, out of their confessionals comes a heartfelt, if illogical, reunion between mother and son. Travis sacrifices his love for them as he knows he cannot be a father, or husband to either of them anymore.
To truly enjoy this movie, you must throw away the notion of realism. This film is Wenders engaging with the American Myth with a European eye guiding the characters. It feels like every sad country song you’ve ever heard- but depicted with earnest sincereity and shown plainly. The characters take their time with their words, almost irritating so, but this film isn’t interested in reason or logic. This is poetic allegory onscreen, and that may not work for every viewer, but for those that it does, you’ll find an emotional journey with carthartic release by the end. I myself am torn about how I feel about the movie. I’m glad to have watched and experienced it- but it’s my least favorite film of Wim Wenders’ that I have seen thus far. It is painfully slow paced. I’m game for a good slow burn, but it almost doesn’t feel like the wait was worth it. I would argue that the film is worth a watch for the cinematography and for Harry Dean Stanton’s acting. He does a lot with little to no dialogue. I also quite enjoyed the mystery of the first half of the film. Your enjoyment of this film may vary based on your patience.
For my 250th blogpost here, I wanted to review and write about something that felt as monumental as reaching this number of articles. Wim Wender’s 1991 globe-spanning road-trip, mystery, romance etc.. felt like the appropriate choice. At nearly five hours long, I’ll be reviewing the Director’s Cut version of the film, and it was a feat simply to find the time to sit through the road trip epic. I’ve only seen one other film from Wenders, “Wings of Desire”, which many call his Masterpiece, and you can read my thoughts on that film here on the blog as well; (https://spacecortezwrites.com/2018/08/24/old-school-review-wings-of-desire-1987/). If I were to try to describe all of the story beats, all of the character moments, or even the bulk of the visual/audial hallucinatory imagery that takes up a considerable volume of the last hour of the film- then this review would be nearing the 8,000-10,000 word mark with ease. Instead, I’ll try to give an authentic sense of the film’s perceived meaning and chatter along about the aspects I thought were especially poignant or prescient.
Written by Peter Carey and Wim Wenders, “Until The End of The World” was based off of an idea conjured up by Wenders and Solveig Dommartin, who stars as Claire Tourneur, the lead of the film. “Until The End of The World” is a hard film to narrow down to any one genre other than that of journey and discovery. The film mainly follows Claire on a journey that spans the world, however she herself is chasing another individual, Trevor McPhee (William Hurt), an Australian with an American accent that she bumps into in France. However, there are a few key details to digest first before getting into that. While the film was released in 1991, it is set in 1999, aka “The Future“. In this version of the twentieth century’s final year an Indian Satellite outfitted with Nuclear weapons has spiraled out of control and the unknown impact of this slowly falling doomsday device has the world on edge. Millions of people are constantly migrating away from the next best guess on wherever it may land, but Claire could care less. We begin the film with her in an eclectic Venetian Party as she tries to forget about Gene (Sam Neill) her former boyfriend, an English Author living with her in Paris. Gene’s infidelity drove Claire away, and even though he loves her, she quickly falls for Trevor after a few encounters in Europe. On her way back north to Paris Claire gets in a car wreck with a couple of amicable French Bank Robbers, namely Chico Rémy (Chick Ortega) who becomes fast friends with Claire as she allows them a ride for awhile. There’s a huge bag of cash involved but getting bogged down in the details won’t help in analyzing a movie that’s almost five hours long. Anyways, on the road to Paris she meets Trevor, who’s in dire need of transport as he’s also being pursued by another Australian in a trenchcoat, but he’s armed. When she finally gets back to Paris, Trevor departs, and she returns to Gene’s apartment. After Claire showcases the huge bag of stolen money to Gene, she realizes that Trevor has stolen some of the money. She vows to track down Trevor, she says it’s to retrieve what’s been taken from her- but as we hear in the plentiful narration, Claire couldn’t really even articulate her reasoning for herself other than a sensation of purpose in doing so. Meanwhile, Gene’s been writing a new Novel with Claire as the protagonist, and as such, he too follows her across the world. In fact, the narration within the film is all from Sam Neill’s Gene, by the end we realize that the narration we’ve been hearing for roughly four hours, is from Gene’s second book he starts on this journey when he has a profound realization about Claire, humanity, and life in general. There’s a lot of chasing, following, love loss, forlorn nostalgia, and newfound friendships in this film. In truth the first half of the film is Claire following Trevor around the world from Paris to Berlin, where we meet a German Detective (Rüdiger Vogler) that Claire hires to track down Trevor, to Moscow, Beijing, Tokyo, San Francisco, and then to central Australia. There’s A LOT that happens in that time. Relationships between those involved in the Love Triangle evolve, we learn more about Trevor, why he’s being pursued, what his personal mission is, and that his real name is Sam Farber and that he’s the son of brilliant scientist Henry Farber (Max von Sydow). *I must stop for a moment to acknowledge the nod of cinematic respect for Yasujiro Ozu’s work with the short but notable inclusion of the legendary actor and longtime collaborator of Ozu’s, Chishû Ryû- seeing him appear in this film even for only but a moment was like seeing an old friend again, and I personally adored that moment.*
However, it is the second half of this film that captured my attention more. The whole of the second half of the film is set in Australia. The characters discover that the U.S. Government actually did nuke the Indian Satellite, resulting in an planet-wide N.E.M.P. (or nuclear electromagnetic pulse) that shuddered all non-shielded electronics. People everywhere are unsure of the devastation, without a connection to the world, they fear for their fellow humans all over the planet, not knowing if the atomic winds will turn in their direction. The whole gang of characters, Claire, Gene, Sam, Detective Winter, and even Chico, gather at the home and laboratory of Dr. Henry Farber. They all engage in pleasantries and we meet Sam’s mother Edith Farber (Jeanne Moreau) as well, the person he’s traveled the world over for, just to help her see once more. They spend what seems like weeks or months there trying to get the science of the project down as they ignore the greater significance of world events and look inward on their little project, which brilliantly foreshadows the next stage of events. On December 31st 1999, the group reestablishes radio contact and realizes that the world has been spared, the nuclear explosion and fallout was entirely contained to space. They also had some successes in transmitting images and video into Edith’s brain and visual cortex with the help of Claire, a natural at transmitting brainwaves apparently. However, all of this exhaustive testing has wrought too much from Edith and she passes with the twentieth century. After the news that the Earth is indeed intact, each character except for Gene, Claire, Henry, and Sam leave for home which sets the tone down to a more personal one. Sam’s father Henry may be a genius- but he’s as obsessive as his son in his pursuits and after Edith’s death he moved towards a new goal; transmitting people’s dreams into digital images and video. Henry thinks it will win him a Nobel Prize, but the truth is he needed to make the device, for his dreams where the only place that Edith lived for him, or at least, his memory of her. After some trial and error the headset and accompanying monitor reveal their dreams to both Sam and Claire and it immediately consumes their interests to an unhealthy level. Neither or them can take their eyes off of their monitors as they stumble through the world and ignore everything around them. Sound familiar? Obsession with screens and the nostalgia of the mind aren’t the only things Wim Wenders correctly predicted with this film. The only reason Detective Winter could track down Sam earlier in the film was with a rudimentary search engine that combs the digital world for traces of the footprint you’ve left through credit card uses among other variables. The film also had video-messaging, VR-like headsets, and devices comparable to large Ipads. I’d also like to take some time to mention that the audio in the film was something that was clearly, heavily, considered. Throughout the film there are a litany of songs used that not only reiterate themes resonant with the story, there’s also a huge amount of atmospheric tracks in the soundtrack that are big players in the overall texture of the film.
“Until The End of The World” is a fascinating experiment in cinema’s history. There are parts of the film that I found quite charming, other sequences felt a bit too elongated for my taste however. There are stretches of the runtime that I found to be too meandering for me personally, but there’s enough unique choices to keep my own attention. The cast itself is certainly a major factor in choosing to check this one out, the performances were compelling, though I had a tough time understanding or relating to Claire and her decision making for most of the film. It was, however, quite nice to watch a movie with Max von Sydow in it the day after his passing, obviously he was a gigantic player in cinema’s history and he changed it for the better. This one was a very mixed-bag in my opinion, it was worth a watch to sate my own curiosity, but not everyone will appreciate this one though I’m afraid. “Until The End of The World” is just too long, too vague, and without a coherent sense of direction. Watch at your own risk.
Caution: This movie is over thirty years old- there will be spoilers!
Written by Peter Handke and Wim Wenders and directed by Wenders, “Wings of Desire” is a German arthouse fantasy film about two angels stationed in Berlin that observe the inner thoughts and outer actions of the many citizens they choose to monitor at any given moment. The film can be understood in two parts in my opinion. The first half of the film consists of an introduction to how the angels go about their unending time, who they choose to listen to, and who to comfort in small and almost unnoticeable ways. This half illuminates the musings of the soul that these angelic figures eavesdrop on as they witness, observe, and record the thoughts and feelings of thousands in Berlin. The second half comes when Damiel (Bruno Ganz) wanders upon a circus and begins to fall in love with the female trapeze artist Marion (Solveig Dommartin). Afterwards Damiel, whose been observing humanity for thousands of years now, becomes enraptured by the idea of leaving immortality behind for the bittersweet, romantic, and melancholic nature of life. He discusses this idea at length with his angelic counterpart Cassiel (Otto Sander), who seems to dismiss his friend’s fascination with the possibility of living a life with risk in it.
What I love most about this film is it’s balance between the solemn deadpan nature of the Angels’ existence (shown exclusively in black and white) set against the multifaceted and blended world of the living- which is shot in waves of color. This is one of those films that you admittedly have to be in the right mood to digest. It’s more about absorbing the moving imagery and pondering the larger than life questions and ambiguities of life rather than a focused narrative, though there is a through-line of thought taking place. Poetic in nature and more interested in what people aren’t saying, “Wings of desire” shows an angel that is more concerned with what makes a life worth living rather than his own heavenly duties. Or to put it more bluntly, he’s gotten bored and uninterested in the angelic listening gig after a few thousand years. Marion triggers something in him, something that ultimately drives him to give it all up to be with her, to aide her in navigating her own sadness and to be a more present guardian.
In some light prep for this review, another reviewer referenced this film as being a “modern fairy tale about the nature of being alive” and I couldn’t agree more. This comes mostly from what we hear, alongside the angels, from the minds of everyday people. One particularly fascinating character was that of Homer (Curt Bois), an elderly author or historian of some fashion. His comparisons with the Berlin of old, with the empty spaces or new buildings that have replaced the locations of memory are enlightening. Back in the library, with Cassiel peering over his shoulder listening and watching, Homer wonders about the nature of war and peace and the obsession that is paired with War- but not peace, “My heroes are no longer the warriors and kings.. but the things of peace, one equal to the other. The drying onions equal to the tree trunk crossing the marsh. But no one has so far succeeded in singing an epic of peace. What is wrong with peace that its inspiration doesn’t endure.. and that its story is hardly told?” Homer considers himself mankind’s storyteller, though this idea as expressed by the actor suggests that the self appointed title goes hand in hand with his humility- not pride. As this old man reflects on life and it’s mysteries in the library, his monologue is juxtaposed against footage from the chaos and death that besieged Berlin after/during the third Reich’s fall. This kind of storytelling seems to be a product of societies that have gone through incredible pain and loss on grand scales. There are similar, at least it seems to me, creative machinations at play in artists trying to sort out their country’s faults or miscalculations amid a general sense of nihilism, or existential crisis. This can be found in filmmakers in comparable situations, like Akira Kurosawa and his string of post-war films in Japan for example.
Peter Falk (best known for his TV detective character Columbo) has a playful role here as a convincing version of himself. He too gets to muse in some hypnotic inner dialogue, preoccupied with his upcoming role in Berlin on the flight from America. It’s not until he reveals to both Damiel and us the audience, that he can feel the presence of Damiel the angel, and he knows that Damiel can hear him. This being due to the fact that Falk too was once an angel that gave it all up thirty years prior in New York City. This could have broken the immersion and illusion of the story but it’s wisely played down and not focused on too heavily. In the end if you’re looking for a somber stroll through late 1980’s Berlin while heavy with thoughts spiraling from anti-war nihilism to the nature of love and the awe in simply living- then I would certainly recommend it.