I bought an open space called Texas Paris. In my memory, my father always joked that his wife was French, and Walter’s wife was French, which also established a subtle connection with Paris in the title. The main colors of red, green and blue, the big panorama of the sky and the wasteland, and the music transitioning to the blues guitar, construct the lonely and lonely western scenery in the desert Gobi. The use of color in visual design has both narrative and symbolic functions in the film. The first is in clothing. The color of the clothes of the father and son changes with the relationship between the two. When they are alienated, they are black jackets when they leave, and when the relationship is warmer, the two of them change. It’s all red, and it’s obvious that red carries an emotional connection, as well as a connection to the past: the male protagonist in the video is dressed in red, and the red shawl is also an important visual element. Record a few shots: When Travis returned to Walter's house for the first time, the camera switched the perspective and composition, looking down from the stairs, and the heads of Travis and Walter were semi-occluded to simulate a peeping perspective. Alluding to the son watching quietly upstairs. Walter and Travis stand on a tall billboard. Travis says that he is going to find his wife, and then a giant billboard with fashionable women is put together. Does the road to find a mother (wife) make a family complete?
When everything pointed to a family reunion, Travis left the mother and son under the green street light. The paranoid, weird and lonely shown by Wim Wenders may not need to be understood, but only needs to be felt. Also torture. In fact, the transformation of the father-son relationship is not only reflected in color, but also in scheduling. From the time the two walked on two parallel roads until the father took the initiative to come over to meet with the son, the big panorama was used when meeting, and there was a sense of loneliness and alienation in the gratification. In-car space scheduling has changed from a down-angle head-up lens to an elevation-angle lens, the scenes become smaller, the intimacy is increased, and the mood is more emotional. The long panning shot of Travis walking on the bridge, the sound and picture are counterpointed, and the person standing on the bridge shouting, at first like the voice of a lonely heart.
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