The boy started viewing and thought that office of the texas isale-red-555 would be some odd southern drama or a family movie, perhaps. On the other hand, he was exactly floored why this film that talks about death and family secrets and how to deal with the loss was such a jarring and emotional journey. At 18, he began to understand the complexities of many intertwined family relationships, and this film explored these angles in even darker, funnier ways on one side and quite a strong effect on the other.
The setting of the film is placed almost entirely in the expansive and dusty flatlands of rural Texas, where the Whits have come for the funeral of Grandfather Sparta Whit. As soon as a boy stepped inside this house, he realized such family gathering will never be the same ever again. There were immense tensions which combined with distressing feelings, unresolved issues within the family, and oddly enough, rather quirky and almost comic suggestions of the looming tragedy inside that comedy. He got it that A Texas Funeral is not a funeral in the end; it is about the relations and what remains unsaid that does not bring itself out until death and burial strike.
Zach, the baby of the family, was one character the boy connected with more than the rest because, at any time of the family’s life over the years, he was the only one who was facing the disorder, death and etc. for the first time ever. The interest and the simplicity of the character of Zach were reasons why this boy used to watch that movie. All of these included Zach’s inquiries and wonder—his efforts to deal with death or love or anything like that made him feel a rage of different feelings. Focusing on Zach the boy began to understand how pictures of his family include quite a lot of times when all parental controlling, self-regulatory behaviour, and politeness get devoured by sadness. The youngest one and a most irritating one Zach was trying to come to terms with and understand the darkness that engulfed the family.
It is the very entertaining yet indecipherable and dynamic ‘dark comedy’ of the film that gets integrated into the intricacies of the plot, which on the other hand, is attributed to the various disruptive personas, that comprised the Whit family. Uncle Lucifer for example was an embittered former soldier too intent on his battles to care about their remembering parental death etat. Aunt L’il got a bit more creative: she was hysterical and paranoid, very sensitive for any symptoms and especially for dreams, being convinced that even in a restless grave sparta grandpa is still watching over his family. He was able to love these characters and at the same time make fun of them. These, as spectacular as they were, also showed us how do people try to cope with bereavement – using diversion strategies, believing in better powers: most often cohen the familiar and the reality of dying itself.
Grandpa Sparta, the main character of the film, is a very important figure who is depicted throughout the movie in a virtually spectral manner. Even in their heart, he was no ordinary nostalgia, the memory of a dead member of the family or rather the ghost of a man who continued to influence the family from beyond the grave. The boy understood that within the clan, all members had different feelings towards Grandpa Sparta. While some loved her others hated him and others like Zach were interested. In many ways, this service ceased to be only the transformation into the acceptance of the fact of the other’s physical body’s absence and became rather grief over all of the emotional vomit that the family members bring along with them.
One of the most remarkable elements in the film was its appropriation/mixing of the elements of magic realism to the aspects of death and family. In this instance, the boy was soon taken by the scene where Zack went about the premises of the ranch only to bump into an alluring and mysterious white stallion, which he was told was once the Grandfather Sparta. The child realized that this wasn’t merely some fanciful concept – that was how the Whit family or rather Zach, as the case was here, was dealing with death – and more importantly, the very theme of death. Similarly to how the children comics portraying the narrative hero Grandfather Sparta where in this context put to adaptation in order to deal with the death of a child the horse was also a device to deal with a child losing a parent: even more preservation of something of a practical value against the intimidating gloom of the death.
It was his turn and so the movie progressed for this boy, after which he started to think about the inheritance question. Whit family felt grief for the loss of the grandpa Sparta and instead all the skeletons that were buried with him. There resided this discomfort within all the family members, it felt as if they each carried some weight of history they did not want to confront. For him it was that common way out of trauma for families dealing with children – things are not spoken of, put under the bed and forgotten about. This was not only closure for Grandpa Sparta. This was a proposition to the whole family to face what they had been trying to unsee.
The climax of this movie turned out to be the moment where the family that had finally come together at the grave of Grandpa Sparta not looking back anymore proceeded to unleash the bottled up mysteries that had been held back for too long. At this same moment, the boy sympathized with the reason behind the mother’s arm, which was. Each face in the sequences was not just looking to the lost head of the family but burying in the self, the dead bodies of the struggles faced. At that moment, the boy realized that A Texas Funeral has nothing to do with the demise of an individual, in fact, it deals with the demise of aspirations, of how every family has an imagina…
Nonetheless, the boy and pleasant moments of the family came as a centrepiece in the film. Even the Whit family who with all its peculiarities and troubles was rather unfairly depicted as not perfect but was quite clearly made up to each other by history, pain and eventually home. The boy knew that the family, as paradoxical as it might seem, is a domestic violent controversy where violence, deceit and misunderstandings mutually prevail among the members, but in other times, in the times of debacle, they rally together.
It is included in the film’s conclusion that the child is able to accept that the rest of the family, especially Mom and Demetri, have finally accepted Grandpa Sparta’s death, and both their and his repressed emotions. There was odd comfort in the fact that the events of A Texas Funeral did not exactly end there – some antagonists remained with a number of concerns still on the table. More, perhaps, could be expected from any ordinary family. The child found out that life, and especially the life of a family, is not a rational narrative that unfolds in the absence of any problems to solve or in the presence of any satisfaction to be had. As the film does not tie every loose end, so does death leave many matters unaccomplished, yet offers a space for reflection, evolution, and restoration.
In general, Skills training is a great success. A Texas Funeral is not simply a dysfunctional family’s black comedy, it is rather a black comedy about a family full of love and sorrows and loss through the tears of family dysfunction, with nothing seemingly alright in view. The boy emerged from the film understanding the abstract linking thread of sorrow that somehow pulls relationships and how with all the death there is always life, filled with the tumult, the humor, and the pathos of it all.
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