Forget the Alamo (Lone Star (DVD))

Member Name: TJ-Mackey

Product:	Lone Star (DVD)
Date:	03/08/01 (129 review reads)
Rating:

Advantages: Everything

Disadvantages: None

At its simplest level, 'Lone Star' is a murder mystery drama set in a Texas border town. Following the discovery of several human bones on an old Army firing range, Sheriff Sam Deeds is forced to dig up a few skeletons of his own, and at the same time uncovers some of the town's more hidden secrets...

On its own, this storyline would make for a rather unremarkable film. However, what John Sayles does here is use the story as a framing device for a number of important themes relating to modern-day American society. Perhaps the most significant of these is the importance of history, or rather, the disputable nature of history. Depending on who describes them, past events can be seen from several different viewpoints, and thus provoke conflicting opinions amongst people in the present. Thus, historical truths are almost entirely defined by individual memories, or group memories shared through storytelling.

The film is set in the fictional border town of Frontera; populated by a diverse community of Anglos, Mexicans, Chicanos and African Americans, amid deep-rooted racial prejudice. An early scene sees an argument between the local schoolteachers over the correct teaching of Texan / Mexican history, and this is essentially Sayles' introduction to the tension that exists in not just this small town, but in many areas of the southern United States. The supposed facts about the Alamo, for example, are perhaps not as clear-cut as American history textbooks describe. However, when ninety-five percent of Frontera's population is comprised of Mexican-Americans, the traditional viewpoints are not necessarily those shared by the community.

As the story behind 'Lone Star' progresses, we are introduced to generational and racial conflict in three families - one Anglo, one Mexican and one African American. Sam has been plagued by the legend of his father, Buddy Deeds, for as long as he can remember. Held up as a model Texan by
nearly the entire county, Sam has always lived in his father's shadow; now the discovery on the outskirts of town may give him a chance of bringing that legend down a peg or two. The skeleton is likely that of former Sheriff Charlie Wade, who mysteriously disappeared forty years before, following an argument with then Deputy Buddy Deeds. During his investigation, Sam also rekindles a childhood romance with local Mexican schoolteacher Pilar Cruz.

Sam and Pilar were involved in a relationship when they were teenagers, but were forced to end it seemingly because of racial prejudice on the part of their respective parents. Pilar's mother Mercedes is now a successful businesswoman but still clearly doesn't approve of Sam's presence around her daughter. Pilar also has two teenage children of her own now, both of whom bring their own conflicts and problems into the equation.

Whilst the most obvious racial tension in Frontera exists between the Mexicans and Anglos, Sayles muddies the water further by highlighting a small community of African Americans, many of whom serve on the nearby army base. Back in the fifties, the only place blacks were welcome was in the traditional segregated bar, and while attitudes have been slightly relaxed after forty years, this is still the place where most feel at home. Previously only allowed a licence because of the corrupt Sheriff Wade, the bar is now owned by 'Big O', an ageing womaniser and maker of famous barbecue sauces. He has some history behind him too, not least an estranged son who just happens to be a Colonel recently stationed at the local military base.

Not content with three ethnic backgrounds in his story, Sayles also points towards the links between the black community and the Seminole Indian tribe. It's interesting to see how Big O takes pride in his mixed heritage, whilst there is still plenty of animosity between the Anglos and Mexicans. Perhaps a lesson can be learnt
here about respecting your historical roots; embracing them rather than allowing them to generate further conflict.

This notion of the past being deeply intertwined with the present is reflected well in Sayles' method of shifting between the two time periods. Rather than use a traditional fade or cut, the camera simply pans slowly around the room from characters in the present to those in the past. By doing this, not only does it emphasise the dependence of one time period upon another; it also weaves the narrative and characters together in a way rarely seen before. Of all the artificial borders on display in 'Lone Star', possibly the most rigid is that of time. Just because we may want to forget the past, actually cutting ties with it is altogether more difficult.

Boundaries, and the arbitrary nature of many of them, is another of the key themes that Sayles develops in this picture. As well as the political borderline between the two countries, which many a wetback has tried to cross over, there are also significant borders separating family, culture, generation, history and race. As one character memorably points out, when a bird flies over a line on the ground, does it think or act any differently? The answer, of course, is no. In fact, most of the boundaries that restrict our actions and beliefs are as arbitrary as a line draw in the sand. As Big O remarks to his grandson, "blood only means what you let it"; a statement that's as relevant to the prominent characters in the film as it is to society in general.

During his childhood, John Sayles had an ambition, like many of us, to write a novel. 'Lone Star' may just be the closest approximation to a novel that is possible with film. Masterfully weaving a rich tapestry of characters and stories, his screenplay for this movie is undoubtedly one of the finest ever written. Thankfully, Sayles maintains a creative control over the majority of his films (he
even edits them himself), allowing the fascinating issues he writes about to remain in the finished product. It's doubtful the same could be said if 'Lone Star' had been produced by a Hollywood studio.

Another skill Sayles appears to have is the ability to draw out performances from a good, but not particularly well-known cast. With 'Lone Star', the acting is exemplary. Sam's misplaced search for the truth is portrayed subtly by Chris Cooper, but he is even better in his scenes together with the wonderful Elizabeth Peña, who plays Pilar. There is a definite chemistry between the two, and with Sayles' astute direction, they hold your attention perfectly.

The smaller parts in the film are also well filled with a selection of fine actors, but most of note is the lack of normal stereotypes in the story. Very few of the characters are portrayed with the attributes usually associated with people in their positions, or from those racial backgrounds. Even some of the scenes that would generally be predictable are subverted by Sayles' smart screenplay, overturning expectations in an assured but satisfying manner.

The ending of 'Lone Star' is one of the most evocative I've seen. With just a few simple lines, Sayles sums up possibly the most appropriate vision of America's political future. Much of the hostility found in society can be traced back to historical rivalry, so if we can put our differences behind us, and forget the past, then there really is some hope for the future. What a refreshing thought that is.

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