Wim Wenders’s 1984 film Paris, Texas (which I have written about before), never reaches the town referenced in the title, but it is filmed in large part on location in various Texas towns from El Paso to Galveston. The final sequences take place in my home town of Houston.
Houston was a big city even in the early 1980s, riding one of the crests of an oil boom that was about to come crashing down later in the decade. But it has exploded in both population and sprawl since that time, now boasting one of the nation’s largest and most diverse populations. Houston is also infamous for tearing down and replacing old architecture, but a number of the iconic locations, so memorably captured by Robby Müller’s cinematography, can still be experienced in person.
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Back in June, I watched my Blind Spot selection, but due to a busy schedule, was unable to write about it at the time. A similarly busy docket led me to delay writing on my August selection. It was more than just an overloaded schedule, however, that prevented me from writing about the two pictures. Both films gave me a visceral, moving, and in some ways unspeakable experience that has resisted my efforts to begin formulating in words. The films in question were Robert Bresson’s Au hasard Balthasar in June, and in August the Wim Wenders picture Paris, Texas.
We first see Marie through this window, our view distorted by the imperfections in the glass.
Despite great differences in setting, visual style, language, and the context of their era, both films have at their center a vulnerable and abused young woman, whom we find in heartbreaking circumstances. Each film has an oblique way of approaching the emotional and physical traumas that the women undergo. In both cases the indirect presentation of their experience creates emotional echoes within both the world of the film and within the viewer. Rather than distancing us from these women, the emotional experience is intensified and made more acute by seeing them through the lens of other characters. In Bresson’s film, we follow a donkey and a town drunk through struggles that reflect the central character’s at an angle. In Wenders’s film, the young woman only appears in person in about the final hour of the film, so that we know her only through the conversations and reminiscences of other characters. In both films, such scenes discussing an absent third character give perspective and nuance to what we see of them, and inject an ambiguity which inspires compassion and restraint in our interpretation of the choices made by the young women. Both Bresson and Wenders seem to show a generosity to the women in their stories which inspires an empathetic response from the viewer.
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