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Volu m e I - Purdue University Calumet

Volu m e I - Purdue University Calumet

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In the end Charlie Wade’s death unravels the truth about his killer in the Roadhouse. This<br />

scene is the epitome of how anyone is in danger when cultures conflict regardless of being in a safe<br />

zone or not. Now all through this movie Charlie Wade has been the head honcho who demands powers and<br />

all of the people fear. In this scene Otis and his boys are gambling illegally in the Roadhouse. He does not<br />

cut Charlie Wade in on it because he does not want to offer him a cut in the money he wins. The gambling<br />

atmosphere seems particularly safe when it’s just Otis and his friends. They are gambling and enjoying<br />

themselves. Charlie bursts in with authority and all the smart safe house occupiers flee because they know<br />

that trouble in ensuing. Sayles plays music through the whole encounter to let the viewer decided what<br />

words are being exchanged. Charlie the power-hungry monster he is starts beating Otis. Another perfect<br />

example of how opposing forces can interrupt the sometime smooth flow of a safe house. Wade demands<br />

money and plans to kill Otis for disobeying him. This is where conflict occurs in the safe zone that actually<br />

contributes to the safety of the zone. Young mayor Hollis shoots Wade to end his reign of terror on the safe<br />

zone involved at Otis’ Roadhouse. With Charlie Wade gone the safe house turns more into an Elizabeth<br />

Watkins type of safe house. After this day the club will occasionally have skirmishes but the people do not<br />

have to continually fear Charlie Wade and his pursuit of power dominance. By taking Wade out of the<br />

equations, the Roadhouse returns to be a place where people can congregate without being in fear.<br />

In America, a land full of many different types of people it is helpful to have a place<br />

where people can go to relax and not feel threatened because of the type of person they<br />

are. The contact zones are what the people need to escape from in order to sustain a feeling<br />

of security. “The differences (in a contact zone) may be national, ethnic, religious, or social backgrounds.”<br />

(Pratt) There is no way a film can demonstrate this better than LoneStar did. Sayles included contact<br />

110

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