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She rails against what iranian she sees as cowardly Uncle-Tomism while he insists that he acted the only way he could, that when a white man has the power there's no iranian way to win, so you do what you must to survive.The film is at its best in moments like these, when Haggis downplays his self-imposed obligation to educate and allows the actors to explore their characters a bit. There's some great stuff there between all the object lessons; if only there were fewer of iranian those to slog through. Like too many filmmakers taking on a large subject, Haggis seems to feel that he has to address it comprehensively. He explores virtually every imaginable permutation of racism, showing that resentment breeds resentment, that those who feel oppressed by the stereotyping they face don't hesitate to do the same to others, nor do they necessarily grasp the irony. He posits that institutionalized racism can force a person to turn against others like himself, as when a black police sergeant (Keith David) covers up racial profiling and harassment by a man in his command so as to keep his own record clean.
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