Wim Wenders (1945 - )
Paris, Texas (1984) - Wim Wenders
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Wilhelm Ernst ("Wim") Wenders (born August 14, 1945) is a German-born film director, author and producer.
Wenders received Palme d'Or in 1985 for his movie: Paris, Texas in 1985 and was awarded a honorary doctoral at Sorbonne, Paris in 1989. --http://en.wikipedia.org/wiki/Wim_Wenders [Oct 2004]
Paris, Texas (1984) - Wim Wenders
Paris, Texas (1984) - Wim Wenders [Amazon.com] [FR] [DE] [UK]
Paris, Texas (1984) is a movie directed by Wim Wenders, and is probably his most well-known and critically acclaimed work, in the English speaking world, at least. Sam Shepard wrote the screenplay. The distinctive musical score was composed by Ry Cooder.
The film stars Harry Dean Stanton as amnesiac Travis, lost for four years, who is taken in by his brother (played by Dean Stockwell). He later tries to put his life back together and win back his wife Jane (Nastassja Kinski) and son.
The film is named after the Texas town of Paris.
The film has a critical and cult following and it won the 1984 Palme d'Or (Golden Palm) at the Cannes Film Festival. --http://en.wikipedia.org/wiki/Paris%2C_Texas_%28movie%29 [Oct 2004]
The American Friend (1977) - Wim Wenders
A thriller that's nearly devoid of thrills? That's not a complaint--it's what makes The American Friend one of the most stylish (and, at the time, most expensive) films to emerge from the New German Cinema of the 1970s. Loosely adapting Patricia Highsmith's mystery novel Ripley's Game, director Wim Wenders shifted priority from plotting to character, emphasizing a richly colorful and atmospheric approach to locations in Hamburg, where a picture-framer (Bruno Ganz) is lured into an assassination scheme involving a mysterious Frenchman (Gerard Blain) and the titular American friend, Tom Ripley (played by Dennis Hopper, a far cry from Matt Damon's portrayal of the same character in The Talented Mr. Ripley). The plotting is vague to the point of irrelevance; Wenders prefers to maintain the aura of mystery, as opposed to generating any conventional suspense, and expresses his affection for American movies by casting favorite directors Nicholas Ray and Samuel Fuller in pivotal supporting roles. The result is an intoxicating example of cinematic cross-pollination. --Jeff Shannon for Amazon.com
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