The Big Picture There are few great American filmmakers who have been as consistently undervalued as John Sayles, a quiet maverick filmmaker whose remarkable deconstruction of quintessential archetypes of “Americana” made him one of the most exciting of the 1990s. Sayles has a fascinating approach to traditional “American” genres, as he tends to deconstruct the facades behind them, yet still celebrates the beauty of the character.
Lone Star When the skeleton of his murdered predecessor is found, Sheriff Sam Deeds unearths many other long-buried secrets in his Texas border town. Sam essentially knows that his late father has been memorialized as a local legend whose experiences and career has been mythologized at this point. If he so chose, Sam could sit back and coast off of his surname instead of actually solving any cases or handling any of the responsibilities of the position he was elected to. However, Sam is not lacking in his father’s values, and begins to dig into a case that could fundamentally change his perception of both his family and community.
‘Lone Star’ Isn't Your Typical Western Close The personal nature of the story, and how it confirms Sam’s adolescent abuse, is why Lone Star works as both a family drama and a neo-noir conspiracy thriller. Sam struggles with living in the shadow of his father, as the two had been contentious with each other for many years, and it was their arguments that had led to him leaving Frontera in the first place.
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