Manual The Legacy of Harry Dean

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The Tao of Harry Dean Stanton: Alcohol, Cigarettes, and Knowing “You’re Nothing”

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Future learning and skills — giving everyone the opportunity to build a lifelong relationship with film. I want to…. Browse our education events. Use film and TV in my classroom. Read research data and market intelligence. Lou Thomas praises one of the all-time great characters actors, an immortal presence in classics such as Repo Man, Wild at Heart and Paris, Texas.

Lou Thomas Updated: 18 September Paris, Texas During the last 60 years, Stanton has been a resolute character actor of almost unrivalled pedigree. Wild at Heart And not just because of its peerless hardcore soundtrack. Like many cult films, it can easily be dismissed as frivolous, weird or esoteric. A fair reaction. It would be easy not to get it. The lead characters are all named after beers, for one thing. Trying to make sense of it all is Harry Dean Stanton, a seen-it-all-before repo man schooling Emilio Estevez in the fine art of repossessing cars. Repo Man His performance as Bud is no exception.

We first see him conning Estevez into working for him and quickly delve into his very particular, edgy way of living.

Paris, Texas (film) - Wikipedia

The plot focuses on an amnesiac named Travis Stanton who, after mysteriously wandering out of the desert, attempts to reunite with his brother Stockwell and seven-year-old son Carson. After reconnecting with his son, Travis and the boy end up embarking on a voyage through the American Southwest to track down Travis' long-missing wife Kinski.

It went on to win other honors and critical acclaim. Travis Henderson walks alone through the West Texas desert, before stumbling into a building and losing consciousness. A German doctor examines him and determines he is mute , but discovers he possesses a telephone number and calls it. Walt has not seen or had contact with Travis for four years, and agrees to travel to Terlingua, Texas , to retrieve him.

His French wife, Anne, is concerned about the matter, as they have adopted Travis' son Hunter, with Hunter's biological mother Jane also missing. Walt reaches Terlingua, and finds Travis wandering from the clinic where he was found. The two brothers begin driving back to Los Angeles. With Walt becoming increasingly frustrated with Travis' muteness, Travis finally utters the name "Paris", asking to go there. Walt mistakenly assumes he means Paris , France. Farther down the road, Travis shows Walt a photograph of empty property in Paris, Texas , which he had purchased, believing he was conceived in that town.

Hunter, aged seven, has very little memory of his father, and is wary of Travis until the family watches home movies from days when they were all together. Hunter realizes that Travis still loves Jane.

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As Hunter and Travis become reacquainted, Anne reveals to Travis that Jane has had contact with her, and makes monthly deposits into a bank account for Hunter. Anne has traced the deposits to a bank in Houston. Travis realizes he can possibly see Jane if he is at the Houston bank on the day of the next deposit, only a few days away.

He acquires a new vehicle and borrows money from Walt. When he tells Hunter he is leaving, Hunter wishes to go with him, though he does not have Walt or Anne's permission. When they arrive at the Houston bank, Hunter identifies his mother in a car, making a drive-in deposit. He calls for Travis via walkie-talkie, and they follow her car to a peep-show club where she works.

While Hunter waits outside, Travis goes in, finding the business has rooms with one-way mirrors, where clients converse with strippers via telephone. He eventually sees Jane, though she cannot see him, and leaves. Travis returns to the peep show. Seeing Jane again, and with her seemingly unaware of who he is, he tells her a story, ostensibly about other people. He describes a man and younger girl who meet, marry and have a child.

The man descends into alcoholism , while the young wife suffers from baby blues and dreams of leaving the family. The man also dreams of withdrawing to an unknown place "without language or streets". A fire in the trailer home, after an incident of domestic abuse , finally parts the family. Eventually, Jane realizes she is speaking to Travis, and he tells her that Hunter is in Houston and needs his mother.

Jane has longed to be reunited with her boy, and enters the hotel room where Hunter is waiting, while Travis watches from the parking lot. He climbs into his vehicle and drives away. West German director Wim Wenders had travelled to the United States and stated he wished "to tell a story about America". Instead, Paris is referred to as the location of a vacant lot owned by Travis that is seen in a photograph, and is used as a metaphor.

A life in pictures – Harry Dean Stanton

Wenders had taken photographs like it while location scouting in the western U. Shepard said he was uninterested in writing Hammett , but they considered loosely adapting Shepard's Motel Chronicles , and developed a story of brothers, one having lost his memory. He embraced the leading part of Travis, saying "After all these years, I finally got the part I wanted to play". Kit Carson , and agreed to act while accompanied by his mother, Karen Black , who helped him memorize the dialogue.

Kinski wrote a diary for the character Jane to develop her backstory, imagining her emigrating from Europe, and getting more affection from Travis than she had from anyone. Wenders said the film shot in only four to five weeks, with only a small group working the last weeks, very short and fast.

There was a break in shooting during which time the script was completed. Shooting already started in when the screenplay was still incomplete, with the objective of filming in the order of the story. Shepard planned to base the rest of the story their understanding of the characters and observations of the actors. However, when Shepard moved on to another job, he sent Wenders notes on how the screenplay should end instead. Kit Carson with the idea of a peep show and the story's final acts. Challenges arose when the film ran short of finances, but Wenders was encouraged when they completed the scene with Kinski, remarking, "it dawned on me that we were going to touch people in a big way.

I was a little scared by the idea". The character gradually moves from the "desolate" to civilization, and Travis continually tries to break away from this difficult transition. Thomas Elsaesser discussed how Paris, Texas fit in with Wenders' depiction of women, saying many of the travels in his filmography are to find a particular woman. In the case of Paris, Texas , this is with the aim of "escaping her 'now' in order to find her as she was 'then'". Marc Silberman examined how personal identity is also a theme in the film, as the name "Paris" is deceptive, conjuring images of France but referring to Texas.

Harry Dean Stanton — Partly Fiction

This is evident in what Travis refers to as "Daddy's joke" about Travis' mother being from Paris, and his belief that he was conceived there causes him to believe going there will achieve self-realization. Cook opined that returning to the sanctuary of the road is Travis' response to having suffered the worst modern American experience, turning his son over to the boy's mother. I let him disappear in my own way, and all my previous male characters went with him. They have all taken up residence in a retirement home on the outskirts of Paris, Texas". Paris, Texas belongs in the road movie genre, [33] [34] but The Guardian critic Guy Lodge suggested it could also be considered a western film.

Paris, Texas is notable for its images of the Texas landscape and climate. Wenders had emphasized roads in his earlier works, particularly his Road Movie trilogy , to depict "characters' journeys", with the setting of Texas removing the cultural boundaries of Europe. Paris, Texas competed at the Cannes Film Festival , with Wenders claiming that Stanton was so anxious about Cannes that they hired Sean Penn to assist with Stanton's preparations for the screening. It was screened at the Sundance Film Festival in and again in as part of the Sundance Collection category.

Roger Ebert gave the film four stars, writing " Paris, Texas is a movie with the kind of passion and willingness to experiment that was more common fifteen years ago than it is now. It has more links with films like Five Easy Pieces and Easy Rider and Midnight Cowboy , than with the slick arcade games that are the box-office winners of the s. It is true, deep, and brilliant".

Then it goes flying out the car window when father and son decide to take off for Texas in search of Jane". It has had an enduring legacy among critics and film aficionados. The website's critical consensus reads, "A quiet yet deeply moving kind of Western, Paris, Texas captures a place and people like never before or after ". From Wikipedia, the free encyclopedia.

Paris, Texas Theatrical release poster. Retrieved 10 May Australian Classification Board. Retrieved 10 September Box Office Mojo.