DVD of the Week: Paris, Texas: Criterion Collection

Films made about the United States by foreign filmmakers are interesting because quite often they provide a unique perspective – someone from the outside looking in. German filmmaker Wim Wenders did just this with his film Paris, Texas (1984). It was a collaboration with acclaimed playwright and actor Sam Shepard and can be seen as a kind of lament for an era of the American west that no longer exists. It’s an American road movie about characters living on the fringes of society and was made during the peak of the materialistic Reagan era. Paris, Texas went on to win the coveted Palme d’Or at the 1984 Cannes Film Festival and firmly established Wenders as an art house darling.

The film begins with an absolutely breathtaking shot of vast canyons of the American southwest while Ry Cooder’s mournful slide guitar plays. Walking through this harsh, desolate landscape is a bearded man in a suit and red baseball cap. The man’s name is Travis (Harry Dean Stanton) and he makes it to a Texas bar before passing out from exposure to the severe climate. The doctor that treats him finds contact information for his brother Walt (Dean Stockwell) who travels from Los Angeles to meet Travis at this remote town. The brothers haven’t seen each other in four years and when Walt arrives he finds Travis walking along a deserted stretch of road. We eventually learn that four years ago Travis and his wife Jane (Nastassja Kinski) abandoned their child Hunter (Hunter Carson) and both promptly disappeared. Travis is reunited with his son and they decide to go looking for Jane.

With his scruffy beard, world weary eyes and dressed like a hobo, Travis could be a character right out of Jack Kerouac’s On the Road. Wedged between such diverse fare as Repo Man (1984) and Pretty in Pink (1986), Paris, Texas serves as a reminder of the impressive range of actor Harry Dean Stanton. For the first 26 minutes of the film he says nothing, relying instead on his expressive eyes and body language to convey how Travis is feeling. Compared to Travis, Walt is a lot chattier and Dean Stockwell plays him as a down-to-earth working stiff. In some respects, he’s our audience surrogate, trying to decipher the enigmatic Travis and figure out his story. This role turned out to be a career resurgence for the veteran character actor who went on to memorable turns in To Live and Die in L.A. (1985) and Blue Velvet (1986).

Paris, Texas features some absolutely gorgeous cinematography by Robby Muller (Down by Law). For example, there is a great shot of Walt at a gas station bathed in green light while in the background the sky is red. It is a striking contrast in colors. Another memorable shot is of an orange, brown stormy sky at sunset as seen through the windshield of Walt’s car. Muller and Wenders’ compositions are fantastic as they illustrate how the characters relate to their environment. For example, in the opening scenes, Travis is constantly dwarfed by the vastness of the desert.

Paris, Texas is about how more than just geography can keep people apart. There’s the emotional distance too. This is a film about two people who got lost on purpose. They dropped out of mainstream society and lost touch with each other and their son. How does this happen and why? These are some of the questions that the film examines as Travis and Jane sift through the emotional wreckage left behind from their damaged relationship.

Special Features:

The first disc features an audio commentary by filmmaker Wim Wenders. The director talks about how he and Ry Cooder decided to use the music that is in the Paris, Texas. Wenders also talks about the origins of the film and working with Sam Shepard on the screenplay. The director talks about the genesis of the film’s title and how it relates to Travis. Wenders tells many filming anecdotes on this informative track.

Also included is a theatrical trailer.

The second disc starts off with an interview with Wenders from 2001. He had wanted to make a film about America but hadn’t done it to his satisfaction with his previous films. It wasn’t until Paris, Texas that he felt like he had achieved this goal. It was also the first time he worked in a spontaneous fashion without a pre-planned shot list.

“The Road to Paris, Texas” is a collection of interviews with key collaborators of Wenders over the years. They all speak admiringly of the man. Wenders talks about the influence of rock ‘n’ roll and road movies on his work.

Also included are interviews with both Claire Denis and Allison Anders, who worked on the film as first assistant director and production assistant respectively. They went on to become directors in their own right. They give their impressions of Wenders, how they met him and what it was like to work with the filmmaker. In addition, Anders reads from the diary that she kept while working on the film.

“Cinema Cinemas” is a segment from an April 2, 1984 episode of this French television programming featuring Wenders and composer Cooder working on the score for Paris, Texas. Wenders talks about his love of rock ‘n’ roll music. It was a dream of his to have Cooder work on his film.

There is a collection of deleted scenes with optional commentary by Wenders. We see more of the German doctor taking care of Travis at the beginning of the film. Most of this footage is bits and pieces that just didn’t fit and were ultimately cut. Also included is fantastic Super 8 mm footage, some of which was used in the flashback sequences so as to resemble old home movies.

Finally, there are “Galleries,” one a collection of photographs that Wenders took while location scouting in Texas, Arizona, New Mexico and California. The other gallery is a nice collection of on behind-the-scenes stills taken on location.

DVD of the Week: Wings of Desire: Criterion Collection

If Paris, Texas (1984) firmly established German filmmaker Wim Wenders on the international art house cinema scene, then Wings of Desire (1987) reinforced his status as one of the world’s premier visual storytellers. Not only is the film an impressive, atmospheric ode to the city of Berlin but it also features a deeply moving romance between a brooding angel and an attractive trapeze artist. Wings of Desire went on to spawn an inferior sequel (Faraway, So Close!) and an even worse Hollywood remake (City of Angels) starring Nicolas Cage and Meg Ryan.

Damiel (Bruno Ganz) is an angel who listens in on the random thoughts of the citizens of Berlin. He is privy to their most trivial ruminations about life and themselves. He and his kind are able to move among humanity undetected except for small children who have yet to be jaded by life and can still see the world through innocent eyes. Damiel shares his daily observations with a fellow angel named Cassiel (Otto Sander). At one point, Damiel tells his friend, “It’s wonderful to live as spirit and testify for all eternity to only what is spiritual in people’s minds.”

However, he yearns to experience the feelings and sensations that humans face on a regular basis – the every day things that most of us take for granted. Cassiel reminds Damiel that their job is to “do no more than look, gather, testify, verify, preserve ... Keep the distance. Keep the word.” However, Damiel begins to seriously consider crossing over and become human when he falls in love with Marion (Solveig Dommartin), a lonely trapeze artist who longs for someone to “say a loving word to me.” He wants to be that person and is willing to sacrifice immortality for simple earthly pleasures and profound human feelings.

Bruno Ganz delivers an absolutely soulful performance with his very expressive face and, in particular, his eyes which convey so much empathy. You find yourself getting caught up in his desire to become human, all for the love of a woman.

Director of photography Henri Alekan photographs all of the scenes from the angels’ perspective in black and white while all of the scenes from the human perspective are in colour. This is a clever way of visually differentiating from what the angels experience and what we do. In addition, Wenders’ camera seemingly floats along like when it gracefully glides around a library where several angels observe humanity. It also flies over the city, providing a god’s eye view of Berlin as the angels watch over us.

Wings of Desire is Wenders’ masterpiece, a thoughtful meditation on what it is to be human. His film draws attention to the little things in life that we tend to forget about by presenting us with a character that cannot experience them. Wenders does this through a screenplay immersed in fascinating philosophical musings and complements them with absolutely stunning visuals that stay with you days after.

Special Features:

The first disc features an audio commentary that actually consists of excerpts of interviews with director Wim Wenders and actor Peter Falk over several years. Wenders talks about the origins of Wings of Desire – it was a return to his hometown of Berlin after spending eight years in the United States. He had planned to make another film but it was too complex and expensive. He had to come up with another idea and quick or the production company he had assembled would break up. This fascinating anecdote is only one of many engaging stories as the two men tell all kinds of filming tales. They do a good job of taking us through the making of this film.

Also included are the German theatrical trailer and an amusing “Wen Wunderts” promo trailer.

The second disc features the bulk of the extra material, starting off with “The Angels Among Us,” a 2003 documentary where key cast and crew members are interviewed. Wenders wanted to make a film about Berlin, the way he remembered it when he was young. Peter Handke talks about his unconventional approach to the script. For the two main angels, Wenders cast Bruno Ganz and Otto Sander based on their 20-year friendship and working relationship. Everyone speaks quite eloquently about their experiences making Wings of Desire.

“Cinema Cinemas” features an interview with Wenders from the February 17, 1987 episode of this French television program. We see Wenders at work on the set of Wings of Desire with his cast and crew shooting scenes from the film.

Also included are nine deleted scenes with commentary by Wenders and outtakes but only with music. Not surprisingly, there is a lot of footage of the angels observing humanity. The outtakes feature all sorts of beautiful shots of Berlin.

There is also a gallery of production design photographs that also highlight the film’s gorgeous art direction. Included are captions that comment on some of these stills.

Also included is an interview excerpt from an interview with director of photography Henri Alekan done in November 1985. He talks about the challenge of achieving the right tone and atmosphere in a film.

“Alekan la Lumiere” features excerpts from a 1985 documentary where Alekan talks to Wenders about his cinematic techniques. There is also footage of him at work.

Finally, there is an excerpt from Remembrance, a 1982 film directed by Ganz and Sander about actor Curt Bois who went on to appear in Wings of Desire.