Lone Star

Sam Deeds is the Sheriff of Rio County, Texas. He lives in the shadow of his father and predecessor Buddy, something of a beloved local legend. After a skeleton is found in the desert with a rusted badge next to it, Sam investigates, certain that he knows to whom the bones and badge belong: the corrupt and cruel Charlie Wade, the Sheriff and scourge of Rio County before Buddy got the job. What Sam doesn't know is how much the investigation will change his life- and the lives of those around him- as long buried secrets are uncovered, reputations re-evaluated and histories reconstructed.

'Lone Star' is a smart, contemporary whodunnit western that is full of twists and turns one won't see coming. Helmed by John Sayles- a triple threat, taking up writing, directing and editing duties- the film is full of sharp dialogue and believable characters, as well as being a genuinely suspenseful mystery story. There is also an undercurrent of social commentary running throughout the picture- with particular regard to class, race and family- that is handled most efficaciously.

The narrative, partially told through flashbacks, rockets along at a fast pace; keeping the audience glued to the screen with attentions held captive. Sayles has allowed for moments of contemplation though; his editing is not overly brisk or brusque, suiting the tone of scenes adroitly.

Stuart Dryburgh's infallible and artful cinematography is really something to behold. His framing of images gives the film the feel of an 'epic,' as if David Lean had adapted a 'Zane Grey's Western Magazine'. His composition echoes the cowboy magazines and movies of the 50's, and you can practically feel the desert heat emanating off the screen because of his efforts.

Dryburgh was nominated for an Academy Award only once, for Campion's 'The Piano,' but his work in 'Lone Star' is arguably the best of his career; and should have gone recognized by the Academy- who instead gave the award that year to John Seale for his somewhat rudimentary work on 'The English Patient.'

Mason Daring's soundtrack and score is as atmospheric as Dryburgh's cinematography, using music from a variety of genres to highlight the melting pot of cultures in Rio County. His original compositions are most suspenseful, making already tense moments all the more emotionally taut. Dan Bishops' production design is rich, adding an aura of authenticity to the proceedings, as does Dianna Freas' set decoration and Shay Cunliffe's costume design.

The real star of the show is- appropriately- the star of the show: Chris Cooper, playing Sam Deeds. Cooper is one of the most understated actors working today, he disappears into roles like a chameleon of the silver screen. As Deeds, he brings wit, charm and resolve to the character that endears him to the audience immediately. You want his investigation to be successful and for him to find some balance in his life. Simply put: you root for the guy. Cooper made his debut in Sayles' powerful 'Matewan' in 1987, and the two have worked together numerous times (most recently on the hilarious 'Silver City' and 'Amigo'); 'Lone Star' may be their most entertaining collaboration.

The supporting cast are routinely excellent, from Elizabeth Peña as Cooper's love interest to Clifton James as the mayor and LaTanya Richardson as a young, confused soldier. There are two that are truly special, however: Ron Canada and Kris Kristofferson. Canada plays an embittered bar owner who never had a relationship with his straight-laced son, very well played by Joe Morton. Canada's layered, complex performance is one of much realism and depth.

Kristofferson plays the villainous Charlie Wade and clearly loves getting to play the bad guy for once. He struts around with a sinister gleam in his eye and an ever-present menacing grin, like an evil John Wayne for modern times. It is without question the best role he ever had and one of his finest performances as an actor.

'Lone Star' is a film that has a lot to offer. It is a delightful cocktail of a western, a whodunnit and a romance, featuring barbed social commentary and an exploration of family and fatherhood. To say it's Sayles' magnum opus would not be unfounded. A line from Kristofferson comes to mind when thinking about the film and its' characters: 'He's a walking contradiction, partly truth and partly fiction.' In the world of 'Lone Star', they're all walking contradictions; and the film is a remarkable piece of fiction.

John Sayles is not only a great director, but he is also a truly great writer, and "Lone Star" is simply one of the best-written films of all time. Out of the 30+ scripts I studied in script analysis classes, this was, other than "Manhattan", the most interesting, involving, evocative screenplay I read during that period, and probably the one with the most depth. I saw the film a few months after reading its screenplay, and found that it far surpassed the mental image I had in my head of the film.

"Lone Star" could have been a standard mystery. It could have been a 'modern Western', or it could have been a superficial race drama, but it is none of those things (at least not exclusively), it is a fascinating, subtle look at race relations in Texas, as well as at basic human nature. Unlike the contrived writing one would find in an 'Oscar bait' drama film, Sayles' interwoven plots don't feel forced simply because he sets them up so well. The depth and scale of the writing here is remarkable, especially because the film, with all its subplots and characters, never feels cluttered or unnatural. This is a character study of the highest order, and there's no point in discussing the actual events of the film further because this is a film that is best seen (or, indeed, read) with fresh eyes, and I'd hate to spoil that for readers who haven't seen the film.

It's a sad fact of life that directors like Sayles, who see films as stories that must be told, and direct them well, but without intrusive and obvious stylistic quirks, are less noticed than directors who practically beg for attention. That's not to say that this film is not well-made, because anyone with any sort of experience with technical details of cinema could tell you that it is a very well-shot and very well-edited film with excellent use of music. That said, this film is ultimately about the writing, and the acting, and both are absolutely superb, the standout from the latter category being Chris Cooper, who gives what is probably one of the nineties' best performances in this film.

10/10

I live in San Antonio and have been to Eagle Pass (where the movie was filmed) many times. I have watched this movie over a dozen times. It is a wonderful piece of film-making! John Sayles captures a lot in this film. His characters have depth and substance. His portrayals of the role racism has played in Hispanic and African-American lives are brilliant but not heavy-handed. The acting is incredible. The casting was perfect. Frances McDormand as Sam's ex-wife is unforgettable. I agree with another commenter that the camera work was exceptional when Sayles filmed flashback scenes using a single take. I especially liked the scene along the river with Sam and Pilar. I am sure there are some people who don't share my opinion, but this movie is one of my top ten favorites of all time.

John Sayles' direction of this film reminded me of Hitchcock in that I was always aware of the director's style and I enjoyed it every bit as much as the acting and the story. Like "Godfather," this is a tale of families and how the sins of the fathers cast their shadows over the generations. To illustrate the connection, Sayles will slowly track his camera from a conversation in one part of a room to another part of the same room where characters who lived 25 years earlier are conversing. The years have passed, we realize, but all the characters, even the dead ones, are in this together. The technique may sound strange, but it works magically. And another thing: I've always thought Kris Kristofferson was a better singer than actor, and a better songwriter than singer. But in this film he turns in an outstanding performance as a very very bad Texas border town sheriff who disappeared years ago and whose bones have just turned up in the desert. At least we think those are his bones, and to solve the puzzle, the current sheriff, son of the man who became sheriff when Kris disappeared, must dig further than he wants into the town's secrets. And once again, knowing how the film ends makes subsequent viewings just as fascinating as the first.

Ive always admired Sayles as a writer and a filmmaker. His early films (Secaucus 7, Brother from Another Planet) even though they were rough and messy had wit and brilliant acting, but when he gets it right, he gets it right: Matewan and City of Hope are two examples of multi-layered stories with believable three-dimensional people in powerful situations. Lone Star is an amazing film: characters that are on screen for even a few minutes come of as real people, flesh and blood, no cardboard cut-outs here. Great performances from Chris Cooper, Kris Kristofferson, Elizabeth Pena, Joe Morton and many, many more. Taut, funny, thrilling and emotional. Great film by a great talent.