Feminism or Mimicry?

           Ridley Scott’s 1991 movie Thelma and Louise may at first appear to be a portrait of two females who only manage to mimic the patriarchal society that has been perpetrated on them their entire lives. But beneath the mimicry lies a feminist viewpoint hidden within Thelma and Louise’s new gun-toting personas. The final scene of the movie, 2:03 to 2:05:37, provides the basis for the argument of the representation of a type of feminist perspective which asserts a direct refusal to be constrained within a male driven society.

            Both women realize on the cusp of the Grand Canyon that their spree of autonomy has come to an end and the point of no return has long since past. They either must face a society that will ultimately reject them or find their escape beyond the confines of the patriarchal culture. Thelma comments on the large group of law enforcement surrounding their car saying, “It looks like an army.”  Then Louise responds, “All this for us?” Thelma and Louise realize just how dangerous their search for autonomy has become for the society they are fleeing. This conversation draws the audience’s attention towards the extreme reaction of the male focused culture to any threat, even if it just two women. When advising the two women to put their hands up the cop on the bullhorn says, “Any act of resistance will be seen as an act of aggression towards us.” The language categorizes Thelma and Louise’s behavior not just as taboo but also as aggressive and threatening. 

            Just as language help destroy the women’s connection to society, it also helps to force them between the two extremes of adult and child. The duality that Thelma and Louise maintain of innocent or child-like and capable or adult is reflected within the conversation of Hal and Max, the two lead officers on the case. Hal refers to Thelma and Louise as girls when stating, “Don’t let them shoot those girls.” To which Max responds, “These women are armed, Hal.” The patriarchal society places Thelma and Louise into two extremes which neither of them fit. Thelma and Louise are not little girls, nor are they simply women. They have grown throughout the movie into two actualized human beings which have obtained traits from both sexes that equal a complete individual. Thelma and Louise’s display of seemingly male characteristics does not place them in the group of imposters, but instead in the group of complete individuals.

            The major evidence for Thelma and Louise’s lean towards being feminist figures instead of shadows of men is their final decision. The act of driving over the cliff of the Grand Canyon is used to promote the idea that Thelma and Louise strived for a world not contained within the patriarchal system which is overloaded with the male figure. The two women found their own space to be exactly whoever they wish to be outside of the confines of gender.  By not going out in a blaze of gunfire Thelma and Louise choose to reject the judgment of the male dominated society and instead continue their journey. 

Ideologies within Sin nombre

            Ideologies are a set rules of behaviors instilled in the members of society from their youth. Ideologies are not taught but more instinctive. This sense of instinctive ideology can be seen in the scene 42:40 to 44:40 in Sin Nombre. To the individuals on the train Willy is a member of a gang and has just murdered another individual while taking part in the robbery of the migrants. Although the man Willy killed was dangerous and another gang member, the people on the train still do not want him aboard any longer.

            In a culture where gangs are so prevalent, people see from a very young age how gang members are bad and can only bring trouble from personal encounters or how the adults treat the gang members. Even later on in the movie when Sayra and Willy take refuge in a house for migrants, Willy’s past as a gang member hinders his acceptance among the others. Along with being a member of a gang, Willy also bears the weight of having murdered someone in a very blunt violent attack. This show of violence convinces the migrants riding the train that Willy is dangerous. In most cultures, violent criminals are thought not capable of reform or redemption and thus shunned. The men on the train conspire to throw Willy off the train and almost succeed but they are interrupted by Sayra calling out that she saw border patrol.

            When Sayra saves Willy’s life by calling out, she goes against the dominant ideology. While the dominant ideology argues that all gang members are harmful to other citizens, Sayra has a consciousness-raising moment when she decides that Willy is not like other gang members. Sayra’s struggle to decide whether or not to go against the dominant ideology can be seen when she frantically looks around to the others surrounding her. Sayra sees Willy as well as his role within society in a new light and thus chooses to go against the dominant ideology.

            Another ideology that can be seen within this scene is of the gang itself. Willy is only aboard the train because his leader ordered him too. The resulting murder of Willy’s gang leader successfully places Willy on the gang’s list of enemies. Although it is not specifically stated, Willy knows that his act of defiance will place his life in danger for disobeying the gang he once called family. Just as a family, the gang in Sin Nombre is centered on a father figure who provides for the members using violence, coercion, and criminal activity. Just as Sayra had a consciousness-raising moment, so does Willy when he decides to finally stand up to Lil’ Mago.

            Willy and Sayra’s stories mirror each other through their consciousness-raising moments. Each fights against a dominant ideology and must provide themselves with their own freedom from that oppressive force. Sayra finds her voice among family who would not listen and Willy finds his freedom among acts of violence. Each ideology that is represented in the scene provides more context as well as power behind the acts of defiance that Sayra and Willy participate in.  

The Last Scene in Sin Nombre

                Director Cary Fukunaga’s moving piece Sin Nombre culminates in Sayra finally reaching the United States and getting in touch with her step mom. The final two minutes of the movie Fukunaga presents a stark contrast to the struggles the immigrants had to face. Sayra and her family came from areas of poverty trying to reach the United States for a better life. This better life is realized for Sayra when she is shown walking through a plot of grass and the camera pans over to a Sears shopping center. The new life her father had envisioned for her is structured around the opportunities that the surplus of goods the United States offers. To encourage Sayra to take the risky journey to the United States her Uncle told her that Sayra’s home in Honduras did not offer her anything, but the United States’ had more than enough opportunities for them all. The lack of cars within the Sears parking lot shows how the prospects for a better life that the Sears represents for Sayra is ultimately just for her.

            Sayra’s new life does not come without obstacles. Although the Sears offers her possibilities and hope, the next scene shows Sayra walking behind a fence and avoiding the gaze of the police. The fence in the scene represents how while her new life offers opportunities it is not without obstacles and road blocks. Although Sayra’s life has the potential to be better, she still is not a legal immigrant within the United States which could prove to be detrimental. Just as her own father was deported originally, Sayra’s new status as an illegal immigrant also provides her with that same chance of discovery.

            When Sayra finally approaches a payphone after sitting in the parking lot of a Sam’s Club, she picks up the receiver and recalls the number her father forced into her mind. While Sayra throughout the movie offered resistance to her father’s attempts at integrating her into his new family, this final act of a call for help as well as the death of her father allows Sayra to accept and take comfort in her new family. Sayra’s step mother responds happily when she hears Sayra on the phone and Sayra takes comfort in this welcome shown by her smiling but then the tragic news of her father’s passing as well as the circumstances of her arrival finally catch up to Sayra. In the final seconds of the film Sayra can be seen almost to tears with relief and all the other emotions she has not allowed herself to feel in order to achieve the goal of reaching the United States.

            In the last scene of the movie there is a song that plays. The song called “La última palabra” is a love song to a woman who has possibly passed away. This song is used to juxtapose the death of Willy, who is Sayra’s protector, and the beginning of a new life for Sayra with the couple in the song that can no longer be together. Just as the couple is separated forever, so is Sayra from her life before she entered the United States.