Desert
From Paris, Texas [1983], the style of the world-famous "Under the Sphere of Berlin" can be expected. The deserted landscape or symbolic psychological desert in the central city of Paris, Texas Covered, it gives people a sense of being in desolation. After "Under the Sky of Berlin" in 1987, this sense of desert is fully expressed by the golden filter lenses of the first few Berlin urban areas. It will be so cold. The scene with destiny is placed at the beginning of the movie. From here, you can see the colors flowing in the director's blood.
As one of the most important directors in Germany in the 1960s and 1970s, Wenders was always known as the Four Greatest New Films before he lived in the United States to make films. Demonstrating the limitations and helplessness of film work, no one would have thought that the decadent and desperate working atmosphere in "The State of Things" did not affect Wenders in the end. On the contrary, in 1983 Wenders spent a short time in partnership with others. Finished the script of "Paris, Texas", and soon released this acclaimed movie in film history.
From the Texas desert, which appears most frequently in Paris, Texas, and the walking style of the Tel Aviv lone man in the opening movie, it is easy to remind people of Sergio Leon’s westerns. The director used the stage background to modify the clouds in the lens. The audience will be careful. I found that the clouds in the desert are obviously fake, but the others are hard to say. In short, everything the director does is to create a perfect atmosphere. At the beginning of Paris, Texas, the desert, a lonely man, an eagle that came from nowhere, but was also lonely. Then we saw that the water in Tel Aviv drank, and the camera began to move with the character, and then he entered A bar in the desert. This series of shots perfectly shows the image of a lone ranger on the journey. The audience in front of the screen will follow the protagonist’s footsteps and wonder why this person walks alone in the desert? He must have walked a long time, maybe he is a saint, who knows?
Blind musician Ry Cooder’s quiet and sly guitar sound constantly set off Tel Aviv. Fortunately, this guy was fateful and was rescued by the boss after he fell in the bar. Later, his brother came to pick him up from the downhill machine, but found that Tel Aviv was missing. Here you can see that this slipped-away man must have buried secrets that he is ashamed of others, so that even his relatives do not want to meet again. The lonely and desolate guitar strings play Tel Aviv walking in the desert, and trains whizzing through the desert. , Tel Aviv’s consistent footprint from the beginning, the brother pulled him into the car, but Tel Aviv did not speak like a mute, the brothers had to tell about what happened in Tel Aviv four years after his death.
Tel Aviv is not very handsome, even a little old-fashioned. Perhaps this is how the audience feels halfway through the film, of course, the director deliberately designed it to be an outsider. Like the desperate angel in the future "Under the Sky of Berlin", he did not belong to this impetuous world, but he deeply cherished and sympathized with it. In "Paris, Texas", the yellow desert and the almost desertified city were used (Houston, Falling Mountain). Instead of the filter at the beginning of "Under the Sky of Berlin", the lens in "Paris, Texas" does not have too much flashing and shaking like in "Under the Sky of Berlin". It has always been in a quiet state, this quiet Not moving, even the pause in time, is very similar to the previous "State of Things". However, whether it is "Under the Sky of Berlin" or "Paris, Texas", there will be lonely knights and desperate people on the edge of the city, but the protagonist always wants to be free from all identities, this kind of unnamed identity, Not a human being than Camus's "Outsider".
Time
The artificial concept of time is always excluded in Wenders' films, and its rejection also illustrates the protagonist's aversion to earthly objects from the side. In "Paris, Texas", when Tel Aviv was asked by his brother if he understood the concept of leaving his own children for four years, he answered that there is a difference between four years and one year? In other words, there is no time. Even after 4 years of breaking up with his wife Jane, he still lives in a trance at the moment of the breakup. This is undoubtedly a deliberately absurd assumption. Scum.
In fact, as early as in "The State of Things", time began to stop flowing like water in a sink. The original black-and-white film image wanted to truly present the corrosive atmosphere in the paralysis of the drama ancestor, but the shot was processed in this way. Although the method of static state is artistically sublimated in the image (such as the slow rise of tobacco, and the exquisite close-up of glass windows and paintbrushes), it puts an extremely dull burden on the audience.
Both "Paris, Texas" and "Under the Sky of Berlin" can be said to have almost overcome the dullness in "State of Things", but the dialogue that appeared in the magic mirror near the end of "Paris, Texas" still makes some people feel intangible. In fact, this seemingly lengthy scene is the one that has received the most praise. This is undoubtedly the irony between the audience and the artist, but the irony is as wonderful as the scene design.
The Magic Mirror put Jane and Tel Aviv after four years of separation on the two ends of the mirror. We can’t know if this is a prostitute or a virtual zone. In short, Tel Aviv finally finds Jane. On the dark side, Jane cannot be seen as a customer. As Tel Aviv came in, it was difficult to distinguish the sound coming in and out, but the man saw Jane clearly. After a deja vu narration, Jane quickly knew the identity of the person opposite, so the classic scene in film history began, Tel Aviv For the first time, I opened my heart to tell this woman I had loved so much about the conclusions I have obtained over the past 4 years. Of course, we can also think that he did not think, but after seeing Jane, a kind of compassion reminded him of the past. The total total.
The magic mirror is a scene similar to a dream. Only here can human beings who have been hypocritical for a long time confide the truth. Wenders ignores that it will cause lengthy and hypocritical mistakes, and uses a few of the most primitive conversations that have grown up for a few minutes. In the monologue, the stare of the other party turned into affection that has not been seen in a long time. The faint and delicate table lamp shines on Jane’s tear-stained face. Perhaps the unfeeling past will be reflected in the mirror at this time. The unseen phantom is replaced.
The director used narration to obliterate the emotional cracks caused by time, or time can not affect the two hearts that are always connected together. Wenders completely rejected the time montage in the movie, and the transition between scenes in the whole "Paris, Texas" Just like the extremely bleak desert at the beginning of the movie, it can swallow any life slowly and hot. However, in the film, this kind of slowness, no rush, and only the time that hinders the emotional process, is swallowed. Throughout the film, Wenders repeatedly uses various filter lenses [with green, blue, and red]. ], to replace the psychological transition embodied in this application montage.
On the contrary, in the dialogue between Tel Aviv and Jane, Wenders did not use filters, and even only used close-up shots and close-ups in the lens. Everything was expressed in the most natural way. With the emergence of the narrative climax, the film The theme music also sounded. At this moment, we suddenly felt that in front of the greatest sincere emotion, everything was powerless.
It's like the moment when the angel "under the sky in Berlin" went down to the world for the girl who had been secretly in love with her, and finally embraced her, the beautiful girl's shallow smile was filled with the common happiness of the two, she said to the angel: We have known each other a long time ago , I am destined to be with you.
Wenders obviously put everything aside.
High-tech scene scheduling
If it is said that the series of filters that show Berlin with a punch at the beginning of "Under the Sky of Berlin" is the most important lesson in editing science in the future. The slow and bleak atmosphere of "Paris, Texas" in the slow and bleak atmosphere can be regarded as a classic of interior scenes. Of course, the scene scheduling mentioned here is not one shot followed by another shot. There are more scheduling here, and the more valuable thing is precisely the scene transition under the psychological hint.
As a European, the biggest difference between the film in the American studio format is the speed of the shot and the style of scene scheduling. From the silent film era, American cinema has been silent in a relaxed and entertaining atmosphere until Hitchcock crossed the Atlantic Ocean. After coming to the house, American movies were officially infused with blood that is different from low-IQ commercial dramas. We can call this newly metabolized substance classical feelings or classical scene scheduling. In Siew’s representative work "Vertigo" 〉The audience can clearly see that the first picture of the heroine posing as a lady is so shocking that when the light hits the face of the gorgeous lady, we suddenly feel like smoking marijuana. The freshness and refreshment afterwards, as well as the soothing music, just followed the rhythm of the woman's footsteps and approached Garrigalante tightly.
The biggest difference from the other three Jebi is that Wenders has softened American family emotions into European humanistic and philosophical sentiments, while Fassbender’s "Lonely Heart" has clearly fallen into the limit of humanity [of course] Beginning with the Women’s Trilogy, he also learned the form of American cinema]. The success of "Paris, Texas" was first reflected in his love of Western film fans, and he also won the favor of the Gana Film Festival that emphasizes humanistic sentiments [obtained in 1984 The Palme d’Or Award], "Paris, Texas", whether it is depicting the desert, the city, or even the relationship between father and son, uses both sides to please the mirror and the plot ups and downs. When expressing the relationship between father and son, Tel Aviv saw a video tape made during a trip to the West Beach 4 years ago at his brother’s house. This is actually a foreplay created to set off later. However, the passionate audience will obviously feel that this has been done. It's a climax in a special sense.
The video recorded the happiness that Tel Aviv and his son and Jane once had in a random way. Four years ago, they talked, hugged, and exchanged love in the car and on the beach. The most touching thing is Tel Aviv and the 3-year-old tycoon. The family relationship between them, happy at that time, they may never expect the near future, this sincere emotion will subside to the lowest point, afterwards, Tel Aviv and Jane had a dispute, the two broke up, Jane handed Hunter to Te’s brother Raised, 4 years later, for Tel Aviv, who has no concept of time, Hunter, who has forgotten his feelings before the screen, seems to be just a non-existent phantom.
The film technique used on the video tape is the most touching method in a typical American family drama. However, the film in "Paris, Texas" can still see the completely different mirroring techniques of European and American directors. The video tape has been used repeatedly from recent times. The long lens of the reverse connection and the follow-up to the far end, after the short-term long lens is over, it turns into an extremely splendid rotating follow-up: Tel Aviv, Jane, Hunter, hand in hand, such as the dance partner in the waltz, in the wet The most beautiful lines are drawn in series on the beach.
Therefore, I said that the mirroring of this segment is also very perfect, even in the form of a documentary melodrama, I believe people who have watched "Paris, Texas" will always remember and try to figure out this scene again and again.
The flashing and MTV-like framing method at the beginning of "Under the Sky of Berlin" was later used by Wang Jiawei and Lou Ye in their respective classic movies [Chongqing Forest and Suzhou River, respectively], especially "Suzhou River". I noticed that the music at the opening of the two is almost in harmony.
In Paris, Texas, not only the documentary-style family drama mentioned earlier is used, but the long shots and close-up atmosphere that run through the film the most are used. It almost discards the depth of field in many classic films. The biggest reason is that Wenders is a loyal admirer of Ozu Yasujiro. In "Under the Sky of Berlin" and "Paris, Texas", the soothing and sublimation of emotions and the deep humanistic care for outsiders are his tribute to the oriental philosophy of tranquility. Wenders Both Ozu and Ozu put aside the real definition. The perfect Japanese image in Ozu’s movies is almost a longing, and Wenders’s "Under the Sky of Berlin" also finally embodies this perfection. In the end, is the love between the angel and the girl? It's just illusion. If you are just a viewer, maybe you can enjoy it more dreamily and revel in the illusion reality.
"Paris, Texas" Tel Aviv finally chose to leave, and it seems to be permanent. The final shot of the film is represented by a long lens and a green bleak filter lens, which just connects the desolate desert at the beginning, when the Tel Aviv car is slow. When they disappeared into the green mist, the angels from "Under the Sky of Berlin" sailed against the current and descended to become humans.
From this perspective, "Paris, Texas" is an angel who has become an angel and has given up Caritas. Secret love becomes the only possibility in the future.
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