To continue the theme of the day, the return to lesbian literary theory, I wanted to offer a reading of a film I went to see last night, Sin Nombre.
At least, at a narrative structural level.
I am a total sucker for how texts, films, music etc are structured. It’s easy for me to fall in love with people who make music like this.
I seem to get an odd kind of mechanical fascination in understanding how something is structured. It helps you understand how the world works.
I learnt everything I know about narrative structures through reading lesbian literary theory. I think this was because I was reading 19th century fiction by women trying to find ‘lesbian narrative space’ in the resounding absences.
It doesn’t take long for you to realise that most story-telling structures are over-determined by heterosexuality. That is, in the end the girl and boy get together and do the fairy-tale thing. Boring, predictable and a great way to control vast populations and turn them into unthinking, breeding machines.
So there I was, watching Sin Nombre. It’s a film about a group of people from Honduran trying to cross the Mexican-US border in search of a new life. Woven into this story is the tale of boy gangs in Mexico who tattoo and beat each in an attempt to hold their rather fragile masculinity in place. The main male character Willy/ Casper kills the leader of the gang in order to avenge his girlfriend’s murder. As he does this he saves a girl called Sayra’s life. They then head towards the US border together. He on the run from the gang who are bating for his blood. She enamoured with her prince charming.
As I sat watching the film I did find myself in a way longing for the happy heterosexual ending. I’m quite orthodox about things and generally hate anything which reinforces heterosexuality in a lazy or boring way. I was shocked at myself but I guess that is where the dramatic tension and pathos of the film is supposed to arise. It plays on our longing for the happy ending.
Of course, there was no happy ending. The final scene of the film was of Sayra on her own calling her family after she crossed the border without Willy, her Uncle or father who had all fallen foul of the challenges of the journey.
Previous to this poor Willy/ Caspter had been pelted with a dramatic number of bullets by his gang. About 20 of them shot his body to bits. This seemed to me to be over-asserting masculinity that was barely being held together throughout the film.
To go back to narrative structure. Despite the waves of affective longing for a happy heterosexual ending which were cruelly arrested, the final structural characteristic of the film is the image of Sayra, a woman, alone. She escaped the fate of the male characters who turned against themselves in self-destructive, flaccid machismo.
As a consequence of too many littered bullets, the scaffolding of the story is opened to offer a different structural outcome. I think its a healthy sign that patriarchal storytelling structures are crumbling down and self-destructing. One can only hope.
Let’s make sure the structures we put in their place create the possibility for many different endings.
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