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Essay / Research Paper Abstract
This paper examines the movie "Smoke Signals," and why it is a good example of a "road movie." "Road movies" are defined as those in which a character goes on a journey and matures as a result of the journey. Bibliography lists 3 sources.
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File: D0_MTsmosig.rtf
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protagonist takes a journey (sometimes a physical one, but more often a psychological one as well) during which he or she, because of experiences while "on the road" gains either
insight or maturity. The classic road movie, of course, is "Five Easy Pieces," and knock-offs abound, with the most recent "self-discovery-on-the-road" film involving none other than Brittany Spears. The 1998
release of "Smoke Signals" involves another type of "road movie," one that involves a different culture, but reveals the same longings among the protagonists to grow up and in doing
so, to find a new maturity and a new meaning to life. The theme throughout the movie is that of travel, and of the need to go the distance in
order to learn about oneself. In developing this theme, the director and writer place it among a culture that has, in the past, only been scantily - and usually stereotypically
portrayed - that of the Native American reservation. Based on the short stories by Sherman Alexie, "Smoke Signals" depicts the uneasy relationship
between Thomas and Victor, two young men who were raised together on a Native American reservation in Idaho (Maslin, 2002). Thomas, an orphan from infancy, was technically raised by Victor
father, but the two young men are not fond of each other, at least not on the surface (Maslin, 2002). Thomas, who chatters incessantly, is constantly annoying Victor with his
attempts to lighten the mood with his stories and his quirky sense of humor. He even looks the part of the screwball, with his grinning face, glasses and long Indian
braids. Victor, on the other hand, is the more moody of the two, the more contemplative, and more serious. Victor, unlike Thomas, is unable to forgive his father for leaving
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