June 30, 2007
Paris, Texas
I've always loved Wim Wenders' Paris, Texas, and been a bit haunted by it. I'll get to Dean Stockwell later - but for now, just want to mention the beauty of this film, and by that I mean - its look. The art direction, the cinematography. What I love about it is that there are no 'sets' - and it appears that most of it is done with natural lighting (whether or not that is actually the case is irrelevant - if there ARE lots of klieg lights offscreen then it is even more of an accomplishment, because it all looks so natural). But it has a hyper-realism. A heightened sense of reality and beauty and desolation. It is NOT realism - in the way that something like Dog Day Afternoon is realism - which has no stage lights, no effects, no fancy camera moves, no set-ups, the actors aren't wearing makeup, that's real sweat you see pouring off of Cazale and Pacino - it has the feeling of a documentary. Paris, Texas is not like that, although it has a very unprepossessing manner, never in your face, never clever. Sunsets are beautiful, rain on a windshield is melancholy - but Paris, Texas digs into these things, submerges itself in these prosaic things, into the colors, the textures, the LOOK, so that the landscape itself becomes poetic, evocative of something else - like images seen in a dream. Good dream or nightmare is unclear. Most of the movie takes place on the road, in crappy little motels, and convenience stores - which are most definitely not sets. It was filmed on location. I love that kind of "found object" movie-making - and so the location scout is to be congratulated. Because that's the thing, isn't it. Reality is often more vivid, and beautiful, and creepy, and transcendent than we can ever let ourselves believe in real life. That's the beauty of movies, good ones. They can help us to see. To look.
Like I said, I'll get to the acting at some other time. I'm working up to a big Dean Stockwell onslaught (as is probably obvious) ... but for now, let's just see. Let's just look.
The look of Paris, Texas reminds me of the look of some of Kwik Stop, Michael's movie. The landscape as HYPER reality, poetry seen in the mundane, the sets look "found" - not created by the filmmakers, they exist outside of the movie, in reality. Life is sometimes bizarre, motels are sometimes absurd ... down the rabbit hole. Yet they exist.
(Punk)
Same look and feel. Intense colors, dream-like, and yet not surreal. It looks hyper real ... the way reality feels like in a dream.
Posted by sheila | TrackBack
i didn't hardly know what to do with that movie.
it all looked like life, but when you were paying attention.
I watched this several nights ago. I hadn't seen it since the '80s. I was first drawn in by Ry Cooder's soundtrack but as you mentioned, the locations just jump out at you. The desert in the opening sequence, the house overlooking the airport and the 405The scene under the freeway with Harry Dean Stanton and his son. And you get the feeling David Lynch must have watched the peep show sequences over and over.
ryoushi - Oh God, that soundtrack. Unbelievable, right?
And the peep show ... what a weird weird place! I listened to the director's commentary this morning, and that is an actual place that they found - not a set ... Truth is way stranger than fiction!
And you're so right - that house above the 405 - and the looping freeways - Just amazing stuff, visually.
Posted by: red at July 1, 2007 6:33 PMSpeaking of David Lynch - I'm watching Blue Velvet tonight! I've already seen it ... but not in years!
Posted by: red at July 1, 2007 6:38 PMTo post shots from Paris, Texas, and not have any of Nastassja Kinski is some kind of crime against humanity--at least this little piece of humanity. There is something about her that makes parts of me ache that I forget I own. Her whole affect and effect hits me right dead in the heart. Sorry this is slightly off-topic. LOL.
Posted by: DBW at July 1, 2007 9:39 PMI know, I know - but I SAID this one wasn't about the acting, didn't I???
Be patient! Kinski awaits! Many more posts to come!
I'm all about le Stockwell, naturally ... but Kinski is just AWESOME in this movie. Luminous, tragic ... Love this film. I love any movie that STARS Harry Dean Stanton. Like - when does that happen??
Oh - and that last scene - with her and the kid in the hotel room.
Gulp. I am NEVER not moved by that scene.
The kid is great, too.
Posted by: red at July 1, 2007 9:45 PMOkay, DBW - because it's you, and you're my friend, please refresh your page and look at this post again.
Mkay?
Posted by: red at July 1, 2007 10:07 PMSCHWWWINNG! All is forgiven. Now, if you'll excuse me for a few....
Posted by: DBW at July 1, 2007 10:17 PMThat's cool. I'm busy with Robert Dean over here. So it's all good.
Posted by: red at July 1, 2007 10:18 PMWe're both nuts.
Posted by: red at July 1, 2007 10:21 PMAgreed. Isn't it great?
Posted by: DBW at July 1, 2007 10:50 PMWouldn't have it any other way!
Now. Back to Blue Velvet. If you'll excuse me.
Posted by: red at July 1, 2007 10:57 PMWait...is that...Harry Dean Stanton AND Dean Stockwell...in the same movie? I think my head just exploded. hahaha It's like when someone travels into the past and they're not supposed to see their current self or there will be a rip in the space-time continuum. :)
Posted by: Jen W. at July 2, 2007 10:49 AMJen - You know what - when you made that comment the other day, I just didn't put it together in my mind for some reason!!
It's a really good movie - I totally recommend it!!
And it's great to see Harry Dean Stanton NOT be a lecherous religious wacko like in Big Love (even though he's so good in that part!)
Posted by: red at July 2, 2007 12:09 PMI will put it on my list to see! The photo clips from it make it look really cool. Thanks for the recommendation!
Posted by: Jen W. at July 2, 2007 2:23 PM