For the Texas desert walks a man dressed, full of dust, with a red cap and a container of water. From the eyes of a bird, the director of
Paris, Texas - Wim Wenders
- describes the landscape with long shots and deep. Then, the bird perches on a rock and exchanges a look with Travis Henderson, the character played by Harry Dean Stanton
: no one else in the desert.
The protagonist wanders, is guided by the need to feel alone. Given the obstacles that are presented, always bounces back and continues, step by step with your shoes chewed, with no intention of seeking anything or find anything. Then comes his brother, Walt, played by Dean Stockwell
- and builds the story of Travis: first given name, because until that moment had remained silent protagonist, and past a gap of four years where he does not remember where you were or what he did. And also, the future: is the father of a seven-year-old Hunter has lived with Walt and his wife for space that Travis has been missing. Harry Dean Stanton
embodied in Paris, Texas to a coal man himself, but gradually realizes a goal that he had built, but had forgotten: Paris in the State of Texas, a town nearby Dallas in which the protagonist has a farm. There her parents met, and that site did he build his house, to live with his wife Jane and his son Hunter. Paris, Texas Travis engages the past in the future to try to fill that gap of four years in which the protagonist has walked through the desert.
But lack Jane -
Nastassja Kinski, daughter of Klaus Kinsk
i (in the blog: "
When the madness became art") - and show Hunter that his father can look after him. Still, between the silence of Travis, the screenwriter creates in the child (accident:
the actor is in reality the son of writer ) a mature character, despite having eight years, you do not need much explanation and puts voice and action for this silence of doubt of his father. This difference in attitude is not free, and Wim Wenders's argument with a metaphor: Travis is obsessed with keeping his feet on the ground, so he traveled to Texas from Los Angeles by car, you need that contact because they are afraid of height (symbolic , referred to build future realities and idyllic, as does his brother to lift billboards). Instead, Hunter, no. He wants to fly in a spaceship, is passionate about the planet Earth, but seen from space, as when he speaks of the origin of the universe (a child of eight years explaining the theory of the Big Ban): not afraid to take risks and go to a symbolic height.
And still no Jane to close this triangle, with a history still empty. Nastassja Kinski embodies the contradiction of trying to escape from his past, but also send money to his son for his future. In addition, work has also has a symbolic Wim Wenders: sold in a cabin in which he talks with customers, with a glass through which acts as a mirror for her, but allows others to see. A woman who knows and wants to hear, the punishment of others, but do not want to face themselves. And in that space, Travis and Jane, without looking at her face, in a memorable scene have their problems, their past, and are discovered until they can look at the face and not be ashamed of themselves. Wim Wenders
hits so great about this story, because until then the story was built by third parties, with other evidence such as super 8 films recorded by Walt. Travis, in his silence, he has himself Who is it, then share it with Jane. And Hunter also helps with the little they can remember from your childhood: facts and stories that his father has forgotten.
Paris, Texas director Wim Wenders Germany is a masterpiece
Photo 2: Tara Bethune-Leamen (
Flickr )
Here are 5 partners where rent and expenses (shaded in yellow) are divided in percentage according to floor area occupied by each partner. One of them participates with 39.35% (LGR), another 19.65% (SER) and the remaining three (MTHR) with 50%. 
