Analysis Of The Movie ' Lone Star ' Essay

Analysis Of The Movie ' Lone Star ' Essay

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As a result, the sequence proves that through memory and blood, borders are suppressed, and the past is able to cross the line separating it from the present once more. However, this scene also establishes the foundations for the conclusion of the movie, since Otis, conscious that the past is a vital, defining force, capable of shaping individual identity, affirms that ‘Blood only means what [we] let it’, thus implying that although history haunts all aspects of our lives, since it constantly overcomes any demarcation line with the present, one can work through it and control its influence.
Indeed, in Lone Star the borderline between present and past is eventually reinstated in the ending of the picture, even though the temporal boundary had repeatedly proven to be porous, if not, non-existent for most part of the film. The final sequence provides, therefore, the conclusive moral of the movie: in order to control our lives and move on, we must flee the siege of history through an exercise of ‘productive forgetfulness’ that enables us to build a better, more positive future through a constructive revision of the past (José E. Limon 1997: 613).

The sequence shows the crowning conclusion of the film’s love story, involving the recently reconciled protagonists of the movie: Sam and the Mexican, history teacher Pilar. The scene takes place in an outdated drive-in cinema in the middle of the desert, which has clearly fallen into desuetude, as shown in the opening establishing shot. Sam, sitting on his car in front of the wide screen, is promptly joined by Pilar. The Sheriff, shows her a picture of their parents, tenderly hugging, and tells her that the man she thought was her father, whom she had never known, had really been killed ...

... middle of paper ...

...ghout the movie, these are crossed and re-crossed over and over again, mostly through narrative, sound, mise-en-scène, and editing, to the point that the past seems to be made at one with the present. Indeed, ‘past and present, truth or legend, history or memory […] are woven together’ by several recurrent flashbacks (Campbell 2003: 168), and their influence is continuously dealt with through the treatment of generational conflicts. However, in the final scene, Sayles calls for a clean break with the past, and establishes a border to separate it from the present. In fact, although it is impossible to stop history from intruding into our lives, we can choose to control it, and not be controlled by it, “forgetting” constructively all the burdens it imposes upon our shoulders, thus beginning to live fully, ‘with the past, rather than in its shadow’ (Campbell 2003: 177).

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