Patterns of Ascent Patterns of Immersion.

In his legendary book on African American Literature Robert Stepto expounds on a reoccurring theme. He called it patterns of ascent patterns of immersion. My segue to the movie really considers three movies and perhaps more: Every since the move "Traffic" I've noticed an echo of Stepto's treatise where there is at least one of the two reoccurring themes: that of the pattern of immersion. In Stepto's original the main characters in African American literature often begin his journey in the north (albeit above the Mason-Dixie line). Stepto was concerned with slave narratives and post slavery books Thus his lines of demarcation were those separating the slavery states from free states. As he an individual crossed from an alienated cold north he correspondingly immerses himself into a warm cultural south where he would cleanse himself of the alienation. Indeed south of the border where Mexico has always had its place in American cinema. In westerns and gangster flicks, It was often the place where those on the run were sure not to be pursued. It was depicted as not only foreign but lawless: hence a cultural wasteland. However with films today such as Traffic,The Line. Man of Fire and this film Across the Line..." Mexico remains the place to flee however it is also a place of redemption.

In Traffic Benicio Del Toro ends up punishing the dirty cops and seeks to establish a new breed of law in Tijuana. He was so close to the filth that it tainted him as well. He feels he has to make amends by building a baseball field of offset the destruction of youth and innocence. While this seems to be what the honest man might do, it is more a personal quest than a civic one. Then there is Denzel Washington's man on fire who asks Ray Liotta ...no that was Christoper Walkin..Densel asks him, "you think God will forgive us for what we have done"? His question is predicated on a man whose sins are eating away at his consciousness. He is an alcoholic and an assassin. Yet Christoper Walkin invites Denzel's character "down". Walken (a former CIA operative)has found refuge in Mexico City and wants to pass it on. It does not work immediately for Denzel, however after he becomes attached to his client (a white angelic being played by Dakota Fanning) his redemption begins. Still we see Denzel's ghosts return in another film. In The Line these same concerns haunt Ray Liotta's character. All these characters end up south of the border where they are immersed in a wasteland and where they perform a rite of passage into self actualization. They reconnect some after going thorough a trial by fire and bullets. They ascend if only briefly.

To critique the writer of both The Line and Across the Line, it seems obvious that this is no accident. Both films star Andy Garcia and he is dieing on both. In both Garcia has a legacy who awaits his death... It seems obvious that this writer borrowed one script for the other. Sorry for that but they are done to good affect. Other parallels can be drawn however The Line was a better movie.

Still the parallel I draw here is that these films all have men seeking redemption and finding it south of the border. While I'm at it let me throw in ALL THE PRETTY HORSES starring Matt Damon. Damon character ends up falling in love and then in prison. yet he reemerges and travels back home where once he crosses back into the State he is hauled in to face a judge. Perhaps there is something in the heat and the dust that draws film makers to situate darkness into the sun drenched barrenness of "south of the border. He obviously smelled of trouble and his story entertained a courtroom. Perhaps Mexico represent our last hope to repair the damage done to the landscape, ourselves and our children, whatever the motivation...there is a pattern.

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