Of all the movie titles, my favorite is the title of "Paris, Texas," which is 2 minutes and 10 seconds with subtitles. These two minutes are the essence and concentration of the whole film, and the main points that the film wants to express are also fully displayed in these two minutes. I believe that Wenders did not have to spend as much effort in shooting the two minutes as the whole film. It is said that Wenders traveled all over the border between the United States and Mexico in order to shoot the desert scene at the beginning, and finally found a film called in Texas. The location of "Devil's Graveyard" was used as a filming location. Even in the second half of the film, where Travis and his wife talk through a mirror, the most classic and most widely circulated scene, the opening scene is still the absolute highlight of the film.
The soundtrack of the opening title is an absolute highlight. After watching this film repeatedly, I still feel that this film can surpass 80% of the films just by virtue of the soundtrack of the opening title. In this film, Wenders brought in composer Ry Cooder for the opening score. After watching the desolate pictures at the beginning of the film, Lai Kuder played a piece of music that made desolation flow from the screen into people's hearts with his Hawaiian guitar. deserts complement each other.
In just 2 minutes and 10 seconds, Wenders used ten sets of scenes. The first is the long shot, shot from the edge of the desert with a 39-second traverse long shot, until the protagonist appears in the shot. This is the most common way of shooting the protagonist of a literary film. The difference is that "Paris, Texas" is from the endless desert to people, and more films are from people to people.
Then there's a medium shot, shot with a fixed camera, focusing on a standing eagle. The eagle appears twice in the title sequence, once in the middle and once in the long shot. In the long-range shooting, Chinese Des used a panning lens to see from the protagonist's vision, and completed a man and an eagle looking at each other.
Then there is a set of medium shots, shot from a fixed camera. Wenders presents the protagonist face to face and clearly to the audience.
Down is a close-up of the empty plastic water bottle in Travis's hand. The close-up is to emphasize to us that the protagonist has been walking in the desert for many days, and the deeper level is also a kind of exhaustion in his mind.
Although the shot goes back to the protagonist again, medium shot. This is also the last frontal appearance of the protagonist in the title.
In the end, Wenders used a big vision to make the protagonist walk in slowly, farther and farther, until he completely disappeared into the desert. This big vision can be said to be textbook level.
Several lenses, not one is redundant. The color matching of the picture forms a sharp contrast from the bright red peaked cap of the protagonist to the endless yellow desert around it. Of course, red can be used as a point of special analysis in this film. In the second half of the film, the color expression of red is brought to the extreme. But in the title, in the endless yellow, the red carried by the protagonist must have something to do with it.
Even without considering the intrinsic value of the film, just from the audiovisual language of the film, the opening two minutes of this film are absolutely exquisite.
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