Stella solitaria

John Sayles is regarded as one of the best independent film-makers about and Lone Star is a film of a man in full throttle. Its a set of interwoven stories set in two time periods as Chris Cooper a border town sheriff who has returned to his home town where his father was a legendary Sheriff investigates a 40 year old murder that may have been committed by his own father. He also rekindles a romance with a childhood, Hispanic sweetheart that his father was very much against at the time.

The film is foremost a murder mystery but also deals with issues of police corruption, illegal immigration, justice, politics and racism. Sayles was rightly nominated for an Oscar for his screenplay.

Chris Cooper holds the film as the dogged sheriff. Kriss Kristofferson and Matthew McConaughey make effective cameos in flashback scenes. There is a strange cameo from Frances McDormand as Cooper's ex-wife who is dealing with mental health issues which probably led to their divorce.

The film is thoughtful, provocative and requires attention. Its not a slam bang or a slow burner. Many multiple stories come together as the past comes to haunt the present and relationships are made clearer.

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.

In "Lone Star", a skull is found in an isolated part of a Texas border county which begins an investigation by the local Sheriff who must unlock a closet full of skeletons to solve the mystery. Critically acclaimed and a high scoring flick on this website, "Lone Star" is a film to be reckoned with. It features solid performances without the usual blockbuster star power, an engaging story, a real feel, and masterful editing which allows for a seamless presentation of the numerous flashbacks required to tell the story. You'll find little emoting or little reason to emote in this matter-of-fact contemporary film which ends with a kicker. Worth a look for just about anyone mature enough for the subject matter.

I just bought this movie on DVD and watched it for the first time in a couple of years, and once again it amazed me. While most scripts stumble recklessly from one hackneyed plot device to another, "Lone Star" flows like a steady, winding river, never letting the viewer see too far downstream. The spine of the film is Sherrif Sam Deed's investigation into a thirty-year-old murder, yet this story is quickly absorbed by many finely scripted subplots and an overall theme on the futility of trying to escape history. While most directors can't help but show off when using flashy camera movement and jumps in continuity, Sayles employs such a subtle directing style that his leaps in time and location are seamless. Sayles fleshes out his script with subplots on racism, national pride, censorship, generation gaps, politics, social revisionism, and on and on. Most directors don't tackle this many topics in a career, yet Sayles juggles them all in one film without jamming them down the audiences' throats. If the subplots in Sayles' "City of Hope" were connected like a series of dominos, here they are gently woven together like a colorful, well-worn Southwestern quilt. The love story between Chris Cooper and Elizabeth Pena is both wistful and steamy. The film's social conscience is compelling. The father/son conflict between Otis and Delmore Payne (Ron Canada and Joe Morton) feels totally realistic. The dialoge is concise and insightful. Fate hangs over every character and every moment. Plus "Lone Star" has one of my favorite "final scenes", one that perfectly sums up the ironies of the film. It is simply one of the best movies I have ever seen.

The discovery of a skull and a sheriff's badge on a disused military firing range prompts Sheriff Sam Deeds to investigate. Sam has long lived in the shadow of his father Buddy, himself the sheriff at one time. However clues point to the fact that the skull may belong to Charley Wade, the corrupt sheriff who `vanished' to Mexico when Deeds challenged him many years prior. However when Sam begins to ask questions that go deeper than the legends, he finds secrets within the border town that hit very near home.

Having just watched The Hi Lo Country (a modern day western with a sprawling story but focused on one thing), I was put in mind to watch Lone Star again. Lone Star is easily the superior film and is a rich weaving of many characters and stories all around one event. The one event is the uncovering of an old murder (possibly) and this central investigation holds the attention easily. Within this investigation and the lives that Buddy affected we are shown a lot of subplots – some followed through, others just giving us enough background to understand the characters. All of these work very well and as a result you don't feel like the film is wandering when it moves away from the investigation by Sam. The subplots are so well translated that we are given a lot of back story to complex characters in a very short time.

For the script to be able to create so many characters that feel real and that have meaningful things going on is impressive. That it makes them all work is amazing and is due to Sayles both writing and editing. As director he is great as well, avoiding the washed out desert feel many `Mexico related' films have and instead goes for richer colours that reflect the rich mix of communities that are in his story.

The acting is faultless all round. No one actor stands out regardless of screen time simply because no one goes over the top and everyone realises they are playing part of a story – even Cooper (realistically the nearest thing to a lead actor) plays it down rather than taking the film over. Morton is good even if his character is the least connected to the investigation, McConaughey is strong despite being little more than a cameo, likewise with Kristofferson. McDormand has a small role but is very impressive as Deeds' ex-wife. Elizabeth Peña, so often dumped with almost token Espanic roles is given a real good part and works with it well. I could list them all, however if any one person stands out it can only be Sayles himself – he takes all the strands and brings them together. I watched a 90 minutes comedy earlier the same day that had dragged. At 130 minutes this simply flew – it is that engrossing.

Overall some will find it too slow, too character driven, sadly some will just not sit through a good story if that's all there is to it (all!). I think this was reflected in poor box office at the time (comparatively poor anyway). But those who have seen it will generally love it – if only more people would watch it! A final word on the film – the ending is shocking and sensationalist on paper and a lesser man would have made a big deal out of it. Sayles simply ends the film softly and leaves us the audience to take what we will from it. Low key from start to finish – I can't praise it enough.