always running
by Douglas Messerli
Sam Shepard (screenplay, as adapted
by L. M. Kit Carson), Wim Wenders (director) Paris, Texas / 1984
The first shot is a bird's
eye-view of the desert, a bleak, dry, alien landscape.
Shots follow of old
advertisement billboards, placards, graffiti, rusty iron
carcasses, old railway lines,
neon signs, motels, seemingly never-ending roads.
When they finally reach the Henderson
home, Travis is invited into the family, introduced to his own son, Hunter
(Hunter Carson)—who they have adopted now for four years—as his true father is
graciously accepted by Walt’s French-wife, Anne (Aurore Clément) with gentle
hugs and kisses. At first, nonetheless, everything is quite uncomfortable.
Travis does not sleep at nights and eats little; the child, even if somewhat
interested in this “second” father, is clearly annoyed by his presence; and the
couple is fearful of what Travis’ return may mean to their own lives,
particularly since they have completely bonded with and love their “son.”
Although their home, in a fairly wealthy
suburb, is quite pleasant, Wenders poses Travis as a night wanderer crossing
freeway bridges underneath which the traffic rushes in and out of the great
city nearby. Although he occasionally contemplates the natural beauty of the
house and its neighborhood, it is also clear that Travis’ mind is busy
contemplating more travels, a wandering that might never end.
The vagueness and secrecy of at least
the first half of this rather long movie, tends to keep its audience away from
the characters themselves—they are simply too fragmented and unknowable to
allow us entry—and to once more posit meaning in the physical world around
them. Exotic plants, cars, schools, buses, billboards (significantly, Walt is a
billboard designer) seem to matter more than the characters themselves, which,
despite the specificity of the objects, turns Wenders film increasingly into a kind
of abstract study of the relationship between lonely people and the space they
inhabit, which also further takes his film into the territory of a
romance—almost like a cowboy version of Tristan and Isolde, except that here
eros has already arrived, destroyed, and left, leaving behind only a vortex of
nostalgia and, perhaps, a possibility of rectifying elements of that violent
disruption.
The voyage back, accordingly, becomes a kind a mythic journey by Orpheus into
Hades to bring back Eurydice, only here the Orpheusian figures, Travis and
Hunter, play no instruments except a walkie-talkie in which they humorously
communicate only a few feet from one another. They track-down Eurydice (Jane)
in downtown Houston as she makes a drive-in deposit, following her through
heavy traffic to her real Hades, a large striptease club. Here she sits in a
room, unable to see her customers, as they tell her their stories, demand
theatrical sexual and sometimes nude performances of her. But Eros clearly has
nothing to do with these interchanges; the management strictly forbids any
real-life encounter with the customers.
By becoming “everyone,” of course, Travis has become a no one, the fact
which, were he attempt to return to Jane he knows would ultimately destroy both
him and her. Accordingly, he tells her where to find Hunter, and leaves the
club, only to watch from a long distance as the two come together, hug, and
bond as mother and son, sharing the same texture and color of hair, hug within
the frame of window.
Below Travis drags himself away, perhaps to be ripped to pieces as the
Orpheus of the myth, but at least knowing that he has sacrificed his own
desires for the protection and love of his son, even if, as he states in the
film, he will be “always running.”
The only problem with Wenders film is that it leaves as many uneasy
questions as engaging solutions. Although Jane has, so she claims, left Hunter
because she knew she could not “give him what he needed,” can she now, as a
tawdry strip-tease artist offer him a meaningful home life? Mightn’t he be
better off with the loving Walt and Anne, even though, given Walt’s
intense-living chain-smoking lifestyle, we can foresee problems ahead? What can she now offer Hunter from her
Hades-bound rock that she might have not been able to earlier? And from this
perspective, the last scene of the film seems more filled with sentiment that
with true resolution.
Finally, it is hard to imagine, at times, that such a well-adjusted and
beautiful child such as Hunter, particularly given his tempestuous background,
might even exist. Oh well, Wenders’ work, after all, is a romance. Such a
“happy” ending perhaps is necessary.
Certainly Hunter, the son of actress Karen Black and the screenplay adaptor
of this film, L. M. Kit Carson, is one of the wonders of Wenders’ film, a
charming figure who quite literarily helps all of the film’s figures cohere. A
graduate of Wesleyan University, Hunter has gone on to direct films.
Los Angeles, May 6, 2014
Reprinted from International Cinema Review (May 2014).
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