Summary
The film shows dusk turning to dawn, indicating that an entire day has passed. Farhad arrives at his store to find that someone has broken in and vandalized it. Inside, Farhad’s wife works hard in an attempt to scrub the word “Arab” off of the walls. Dorri, also devastated by the store’s vandalism, checks to see if the gun still remains behind the register. She discovers that the gun is exactly where Farhad left it.
Later, Farhad calls the insurance company in order to file an incident report. The insurance representative informs Farhad that the damage cannot be covered. He explains that the store’s break-in is a result of Farhad’s “negligence” in failing to fix his broken door. Enraged at his loss, Farhad suspects that Daniel is the culprit. While throwing away a bag of trash that contains the final remnants of his store, Farhad finds a piece of paper in the dumpster that lists Daniel’s address. With the knowledge of Daniel’s whereabouts, Farhad vows to take revenge.
Mr. Thayer is shown on-set, congratulating his actors for successfully finishing a scene. His white coworker interrupts his enthusiasm, suggesting that they do another take in order to portray one of the black character’s, Jamal, differently. The coworker asks if the Jamal is receiving speech lessons, as he has begun to talk in a more “educated” manner. Mr. Thayer first laughs at his associate’s comment, but then realizes the request is not a joke. He speaks to Jamal and orders for the scene to be reshot.
The previous night, Ryan was awakened abruptly to find his father on the toilet in discomfort. In the morning, he visits Shaniqua Johnson’s office in order to seek possible treatment solutions. After Johnson fails to provide Ryan with the answers he wants, he begins to insult her—he says that she is not qualified for her job and has only earned her position because of her race. Johnson asks for Ryan to leave, but instead he launches into a story about his father’s history as an equal-opportunity employer. Due to Ryan’s misconduct, Johnson does not approve his requests. Ryan leaves the office in a huff.
Waters visits his mother in a home which mirrors her own dilapidated state. His mother asks him if he has found his brother yet, to which Waters replies no. She asks him the same haunting question twice more. Though Waters is visibly disturbed by his mother’s circumstances, he fails to provide her with resources or assistance. He heads back to the car, where Ria asks if he has apologized to his mother. He lies and says that his mother was not home.
Mrs. Thayer visits her husband at work, where she apologizes for her behavior and calmly explains the humiliation she felt the night before. Mr. Thayer’s solemn reaction indicates that he continues to have unresolved feelings about the previous night’s events. Hansen approaches Ryan to discuss his reassignment. Though Ryan initially wishes Hansen well, he pulls him closer to threateningly warn that Hansen will only truly discover himself after more years on the job.
While driving, Ryan encounters a serious car accident. As he approaches the scene, he finds that the person involved in the collision is Mrs. Thayer. She is trapped in her overturned vehicle, and there is the impending threat that the car will explode. Upon realizing that the man attempting to rescue her is Officer Ryan, Mrs. Thayer becomes hysterical and combative. Ryan eventually calms her down and rescues Mrs. Thayer seconds before the car becomes engulfed in flames.
Analysis
Although the dawn usually symbolizes a fresh start to the day, we soon discover that “today” is no different from the day before. While the previous scenes have shown how race separates individuals within domestic spaces, the following sequences demonstrate how racial microaggressions invade the workplace. Farhad, Officer Ryan, and Cameron only choose to act directly upon their aggravated feelings once racial prejudice enters their professional spheres. Haggis’s emphasis on the workplace is a commentary on American cultural values. In the United States, pride and personal worth is often predicated upon professional success—thus, when this sense of success is threatened, each character becomes highly reactive.
While we previously discussed the parallelism between Lara and Officer Ryan, the scenes involving Dorri and Detective Waters further emphasize the importance of parent-child relationships throughout the film. Dorri, who often serves as the translator between her father and others, symbolically mediates Farhad’s behavior. As she checks on the gun in the drawer, Dorri exemplifies her understanding of Farhad’s aggravation and her subsequent concern about what he will do.
Waters’s relationship with his mother stands in stark contrast to Dorri’s relationship with Farhad. Although the audience has been aware of Waters’s mother’s presence, this scene is the first instance where we witness the disturbing dynamic between her and her son. In comparing their relationships with their parents, we come to understand that Dorri and Detective Waters function as foils for one another. Dorri is her “father’s keeper,” while Waters has consciously chosen to abandon his mother in order to focus on his career. As the story continues, we continue to see how parent-child relationships remains an important theme.
It is significant that Waters fails to inform Ria about the interaction he had just shared with his mother. While Waters appears unphased and composed, the audience is aware of his underlying distress. Waters’s behavior establishes the motif of appearance versus reality, specifically in regards to emotional suppression. This motif reappears in the following scenes. For example, when Christine confronts her husband at work, Cameron is unable to tell his wife about the guiltiness that accounts for his coarse affect. Instead, he fails to acknowledge her apology, thus contributing to Christine’s own guilt. Additionally, the eerie interaction between Officer Ryan and Officer Hansen foreshadows that Hansen is not the level-headed, morally-upright officer that he thinks he is. In keeping their feelings to themselves, each character becomes further removed from the world around them—their individual pain tears them apart. However, as the story continues, we learn that these underlying emotions and realizations will soon be exposed.
To put it simply, Christine’s entrapment and subsequent rescue is dramatic. However, the most interesting facet of this sequence is the characterization of Officer Ryan. Upon seeing her abuser, Christine becomes combative and refuses Ryan’s assistance. However, Ryan’s facial expression seems to indicate self-recognition. In this brief moment, Ryan reflects on his behavior and understands that his ability to rescue Mrs. Thayer provides him with the opportunity for redemption. As he carries Christine out of her exploding vehicle, the audience is prompted to evaluate Ryan’s morality. Why did Haggis choose to portray him as both a hero and as a villain? Can Officer Ryan be forgiven?
