Paris, Texas (1984)

Jun 18

When slow burn erupts into a volcano.

Presentation:

The film has a bizarre opening. You are left scratching your head for about 30 minutes into cinematic desert landscapes. I'm a fan of the compositions, but not of the image quality, partly because my version the contrast was off and everything was overly red, so be sure to watch in the best version possible. The film is painfully slow and the only reason you'll put up with it is because of a burning desire to have your questions answered. The payoff is so overwhelming, that you'll instantly forget about any questions you have, and you're just watching two people having a real conversation. And it's all that exists in one of the most uniquely framed dialogues. The symbolism is well implemented leading to an artistic experience.

Analysis:

The beginning of the film is extremely painful. You almost regret watching. Is the film going to be like this the whole time? Luckily no. But after watching I have to ask, was it necessary? Without this long opening, you likely wouldn't be able to effectively grasp the guilt, the self inflicted suffering. So much that Travis becomes obsessive, unable to take off on the plane, leave his burden behind like his possessions. Even has to have the same car. There is a feeling of comfort established through this exposition, which does add to the familiarity and character development, but everything is too damn long. Although this is probably the aspect to cut, I think it was necessary to include some of the brother's family. You should be constantly wondering, what about Anne and Walt? Hunter's education? But you don't, because the ending is so strong, it's all that exists, and nothing else is relevant. There are many unanswered questions. Why did Hunter stay with them all that time? Logistically, how does it make sense for a man to wander for 4 years, the family doesn't know anything, and all this time he wants to reunite or give the child back when that doesn't look like his initial intention at all. But emotions don't make sense, so let's just overlook all of that. The cinematography utilizes reflections very well. We see mirrors implemented twice as some kind of foreshadowing, causing some PTSD and his wandering into the desert. He hates his reflection and can't even bare to look at himself let alone Jane. This is perfectly framed as his reflection overlaps with Jane's through the one way mirror. When the perspective shifts to Jane, we also see a reversal with Jane being a reflection of Travis. They have both done each other wrong, relationships are a two way street. And sometimes you can't reconcile when all you can see are the traumas and mistakes you won't admit you helped cause. It's something every relationship with arguments have, especially the more volatile ones. Men should be able to understand the rage of Travis, and women should be able to understand the resentment of Jane. It's a painful window to look through, but ultimately Travis musters the courage to look through the Merridian hotel window to say goodbye.

Conclusion:

This film is not for everyone as it is glacially slow. One of the slowest, second only to Amour. But there is a purpose here to provide a foundation for this resurfacing iceberg. The way the climax is presented is profound and genuine, allowing all emotions to overflow all at once. Objectively this film should be a 4, but could have been a 5 because there is no other film with such a rewarding payoff. But if you've never had serious fights or felt the deep regrets of arguments, all of this might fly over your head and you've tormented yourself with 2 and a half hours of boredom.

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