Paris, Texas
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Synopsis
New German Cinema pioneer Wim Wenders brings his keen eye for landscape to the American Southwest in Paris, Texas, a profoundly moving character study written by Pulitzer Prize–winning playwright Sam Shepard. Paris, Texas follows the mysterious, nearly mute drifter Travis (a magnificent Harry Dean Stanton, whose face is a landscape all its own) as he tries to reconnect with his young son, living with his brother (Dean Stockwell) in Los Angeles, and his missing wife (Nastassja Kinski). From this simple setup, Wenders and Shepard produce a powerful statement on codes of masculinity and the myth of the American family, as well as an exquisite visual exploration of a vast, crumbling world of canyons and neon.
Picture 8/10
The Criterion Collection updates Wim Wenders’ Paris, Texas to 4K UHD, presenting the film in the aspect ratio of 1.66:1 on a triple-layer disc. Enhanced with Dolby Vision, the 2160p/24hz ultra high-definition image is sourced from a new 4K restoration, taken from a scan of the 35mm original camera negative. The release also includes a standard dual-layer Blu-ray featuring the release’s video features and a 1080p presentation of the film. This Blu-ray replicates the 2010 release, meaning the older restoration is used, and it is presented in the aspect ratio of 1.78:1.
Though there are some slight issues, this new 4K presentation delivers a substantial upgrade over Criterion’s older Blu-ray, which, while serviceable at the time, has not aged well due to its soft image, limited detail, and poor compression artifacts that were common in early high-definition releases (or, at least, Criterion's). The 4K restoration cleans all of this up and then some, offering far more detail and a cleaner, more refined film texture. The image is significantly sharper overall, with film grain appearing more natural. While there are a few shots along the skyline that can look a bit noisier, the worst example being the extended shot of Harry Dean Stanton’s Travis walking along the overpass, these noticeable instances are thankfully rare.
The wider contrast and range provided by Dolby Vision also contribute to a wonderful visual boost, particularly in the film’s use of color. Reds, blues, and violets appear surprisingly vivid and rich. Black levels and shadow detail see notable improvements as well, delivering greater depth and nuance, most evident in the adult club scenes near the film’s conclusion. Here, the reds from the lighting blend cleanly into the shadows without any distracting macroblocking.
Despite minor issues, this 4K release is still a marked improvement over the previous Blu-ray edition and a worthwhile upgrade on that basis alone.
Audio 8/10
The film yet again features a DTS-HD MA 5.1 surround soundtrack, and I thought there was a notable improvement over the older Blu-ray’s audio. Ry Cooder’s score sounds sharper, with enhanced depth and range, accompanied by a clean mix through the surround channels. Dialogue and background effects also exhibit decent range and fidelity, though they are primarily limited to the front channels. Overall, the audio presentation (especially when it comes to Cooder's score) is effective and complements the film beautifully.
Extras 10/10
Criterion’s 4K UHD edition of Paris, Texas includes the same extensive supplements as their 2010 Blu-ray release since Criterion is simply porting that disc over and including it here. The 4K disc itself features only the 4K version of the film and the audio commentary, while a standard dual-layer Blu-ray contains the rest of the features along with a 1080p presentation of the film.
The audio commentary from Wim Wenders, originally created for an earlier release, is included here. Wenders’ dry tone may not appeal to everyone, but the track provides fascinating insights into the film’s production. He reflects on the photography of the American landscape, working with writer Sam Shepard, and the collaborative process behind the story’s development. The commentary comes to life when Wenders passionately discusses the final sequence between Harry Dean Stanton and Nastassja Kinski, offering detailed observations on the shooting and editing of this pivotal scene. Despite occasional dry moments, it remains a valuable resource.
The interviews section includes several engaging discussions. A 2001 interview with Wim Wenders, conducted by Roger Willemsen, runs 29 minutes and delves into the themes and production challenges of the film. Wenders recounts how the second half of the story was improvised after the script ran out and reflects on the critical reception in Europe and the United States. While some material overlaps with the commentary, it adds further context and depth. Assistant director Claire Denis provides one of the most energetic contributions. In her 20-minute interview with Kent Jones, Denis recalls casting decisions, production challenges with local teamsters, and the recording of the score. Her vivid anecdotes make this one of the set’s highlights. Allison Anders, who worked on the film through a school grant, reads from her production journals and contextualizes her experience. Her reflections include insights into the production’s challenges and her admiration for Nastassja Kinski and Robby Müller.
A 1989 documentary called The Road to Paris, Texas runs for 43 minutes and features interviews with Wenders, Robby Müller, Ry Cooder, and other collaborators. It explores Wenders’ earlier works before focusing on Paris, Texas. The documentary is particularly memorable for Harry Dean Stanton’s candid reflections and Samuel Fuller’s colorful commentary, making it another standout supplement.
Other features include 24 minutes of deleted scenes, which can be viewed with or without Wenders’ commentary. These scenes, while interesting, were understandably cut for pacing and narrative reasons, but they're still worth watching, especially a scene between Dean Stockwell and Aurore Clément that Wenders mentions in the commentary. Super 8 footage shot for the home video sequence is presented with either music or Harry Dean Stanton rehearsing his final monologue, adding an intimate behind-the-scenes perspective. A 12-minute segment from the French television program Cinéma Cinémas includes an interview with Wenders and footage of Ry Cooder scoring the film. Two photo galleries showcase Wenders’ location photos and production stills by Robin Holland. These small but striking collections complement the set. The original theatrical trailer is also included, though it’s in rough condition.
The booklet contains essays, interviews, and photographs, adding substantial value to the release. Highlights include Nick Roddick’s essay on Wenders’ career and excerpts from Sam Shepard’s Motel Chronicles, a major influence on the film.
While the supplements are not new, I still found them to be fantastic, offering a thorough exploration of the film.
Closing
While the supplements remain unchanged, the new 4K presentation delivers a striking upgrade over the previous Blu-ray.
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