Native American Film

The New World (2005) ****

2011-02-03T00:10:00.000-08:00

1616 engraving of Pocahontas by Simon de Passe.

Pocahontas. John Smith. One story. Told in many different ways since the days of old Virginia. Was it real? Creation? Or a little bit of both? The love that supposedly took place between these two has taken on an air of myth, of legend. Like the great Grecian gods. Fitting for a land purported for its dreams and pursuits of greatness, immortality.

The events as presented in The New World are quite conventional and "true" to the story as the majority have come to accept it. The beautiful Powhatan girl takes a liking to John Smith and vice versa. They form a bond, split, she gets with John Rolfe, travels to England, and soon after, she passes away. So at first glance, it comes as a bit of a surprise - perhaps even off-putting - that Malick, its director, would choose to take this path instead of opting for one less trodden.

This has now been my third time watching this film. And it is now after I've revisited his Days of Heaven, The Thin Red Line, and the trailer for The Tree of Life. Particularly after watching Thin Red Line again, I began to realize the inherent romantic spirit that Malick embodies. He's a poet. And truth or fiction, there's something innately romantic about two souls from opposite ends of the Earth coming together.

Despite taking a conventional route in story, it becomes evident that Malick indeed spins a new perspective on The New World. The largest perpetual clue is its grandiose score composed by James Horner. Unlike Thin Red Line, which utilized native Melanesian chants to score choice scenes in the film, New World is curiously absent of this characteristic. The music has an air of England, of majesty to it. The way its final scenes are presented make England seem foreign and somehow "new". We follow Pocahontas much of the time - sharing in her awe and wonderment. To her, this is very much a new world. Much as we see and hear most of Virginia through the actions and thoughts of John Smith and Rolfe. And to feel that as a viewer is not only somehow ethereal but also indicative of Malick's intent.

It's a curious love - or whatever it truly was. One that should not be taken lightly. Did John Smith pave the way for colonial America or did Pocahontas give the land away by forging their love for one another? Regardless, for the America that would come to be and now is, that encounter was its bedrock, its foundation. The beginning of that great ongoing social experiment.

A Thief of Time (2004) ***

2010-06-21T14:34:00.000-07:00

This is a surprising effort by Chris Eyre because it doesn't show his usual control. Some scenes are underwhelming and some of the acting make select characters seem more like caricatures than real living beings.

A Thief of Time basically follows Chee (Adam Beach) and Leaphorn (Wes Studi) again as they go on a hunt to find a missing archaeologist. I have to say, despite a noticeable decline in craftsmanship compared to Skinwalkers, I genuinely enjoyed watching this movie. Familiarity does wonders for an audience and this was no exception. It was like hanging out with old buddies again. In fact, this film is at its strongest when it gives brief moments to the characters simply talking to one another. It makes me wish Chee and Leaphorn would stray away from the plot and just go on the road together. These two are that much fun.

With that said, the source of the movie's inspiration was more fascinating than the actual film. The premise stems from disputes concerning rights over indigenous "artifacts" between whites and natives. It is a curious notion that natives seem to be the only people valued beyond familial and sentimental boundaries. There is a very real societal and financial value to the native dead and their crafts. We hang real people up for display in museums and do not regard the practice as disrespectful but of historical significance.

I'm sure their descendants more than beg to differ.

Incident at Restigouche (1984) ****1/2

2010-04-28T00:30:00.000-07:00

"You cannot ask for sovereignty because to have sovereignty one must have one's own culture, language and land."

Lucien Lessard, Quebec Minister of Fisheries 1979-1982

Restigouche and Kanehsatake are one and the same: the government seeks to take away what has been available to their peoples since time began. In the case of Restigouche, Lucien Lessard demanded the Micmac peoples remove their nets from the waters despite the fact that Micmac livelihood - as well as their identity as a people - depend on the salmon they fish for in those very waters. Naturally, the Micmac resist, and of course, squads of police march in to instill order. And the word to describe this act is march and no other. There are a couple moments in which still black and white photos of the police appear and pass. The soundtrack is marked by decisive marching. Like Nazi goose steps. And like a Pavlovian response, this march immediately curls the Micmac defensive. It is as if to sound an alarm, to let them know the enemy is coming.

Obomsawin, more than a decade before Kanehsatake ever took place, felt the need to document Restigouche. She initially had trouble gaining access to equipment and crew, and thus, missed out on some of the initial occurrences that took place there (a setback she immediately sorted when embarking on Kanehsatake). Notably, her voice seems less at ease here than it did at Kanehsatake and I feel it has less to do with age than it does experience. Her voice is more weathered in Kanehsatake, as if she's endured this disturbance before. It is like deja vu to a degree. But it was very new at Restigouche. Her outrage is more blatant as she and Lessard verbally battle it out during an intermittent interview throughout the film. The most memorable is when she throws his quote (quoted above) back in his face (for reasons that are quite obvious).

Obomsawin is more known for her work as a cinematic social activist than any distinct visual signature. For this, I have discovered she has received some flack from select critics. Surely, her documentaries lack anything fancy. Instead, she aims at making no-nonsense pictures that are designed to relay a (very) clear message. But I believe there are very distinct inflections in her work from what I've seen so far: the use of natural imagery (that is, focused on nature and the natural world), a strong use of the spoken word via interviews, and an indomitable native spirit. One cannot deny the compassion she feels for her native peoples. She loves the people she documents. After all, she is one of them.

The film is available in its entirety here:

http://www.nfb.ca/film/incident_at_restigouche/

Kanehsatake: 270 Years of Resistance (1993) *****

2010-03-22T20:34:00.000-07:00

Kanehsatake is Mohawk reservation land located in southwest Quebec, Canada. The events in the film are set into motion when the city decides to build a golf course on that land. Despite outcries from natives, whites, and even a sensible course of action suggested by an environmental specialist, the mayor ignores all of them and gives the project the green light. Of course, the Mohawk peoples were having none of it and blocked off any access to their lands. And so the military siege of 1990 began.

And Alanis Obomsawin, an Abenaki filmmaker noted for documenting contemporary Canadian natives and their struggles, has captured in the details what has been duly seen in the big picture since the periods of contact in North America. There are many moments of the military covering up truths, breaking negotiated promises, and inflicting harm upon the natives. To be fair, some of the natives (the warriors in particular) retaliate in similar fashion but it's just that - retaliation. In effect, as the subtitle of the film suggests, nothing has changed.

Simply put, it is a stunning document of the total native reality expressed in mere months. Modernization may have enriched the physical that surrounds us but our collective spirit, the manner in which we treat one another, is bankrupt. It was the way of things way back when, and sadly, it remains the way of things now. And unless a man or woman of native descent is able to head either of these nations, it is highly doubtful the state of things will change anytime soon. Yet, at the very least, one must appreciate a work like this for keeping a record of the great ongoing struggle. I truly believe a time will come to pass when the struggle will be no more. And documents such as these will remind future generations how far their peoples have come.

Note: The entire film is available to view online.
http://www.archive.org/details/kanehsatake

Nanook of the North (1922) ****

2010-02-01T19:29:00.001-08:00

Nanook

I've seen this film a total of three times now. I never really knew what to think of it then. I really don't know what to think of it now either. However, the last two times, I experienced it as a member of the audience. Today, I began to see it as Flaherty might have envisioned.

There are many qualms over the film's documentary status. For those who aren't aware, many significant details were fabricated by Flaherty to romanticize the Inuit way of life and their sense of alienation from the Western world and its technological advances - despite the fact that the Inuit actually served as key crew members during the making of this film and even used rifles to hunt for their food.

This is how I came to see the film: a documentary. But I learn that the full title was once Nanook of the North: A Story of Life and Love in the Actual Arctic. The key word here is story. It must be known that Flaherty was less a filmmaker and more a trader. A hired hand, he was sent out to analyze the potential for railways and minerals. He came into frequent contact with the Inuit during these expeditions and that's how the project came to fruition. He set his sights on commercial distribution and audiences clamoring for narrative fiction rather than the actualities of early cinema. The only true documentary value of Nanook is the actual Arctic. The rest is arguably just that: a story. In light of these discoveries, I now see this film more as fiction rather than documentary. I find that more easy to stomach.

But regardless of how one categorizes Nanook, its images are compelling. The events that take place are foreign to most everyone in the world - a real fantasy. Fortunately, remnants of this fantasy still seem preserved to some extent as witnessed in the film Atarnajuat (reviewed earlier). Perhaps it is not as easy to embrace the modern world in an area as harsh as the Arctic. In any case, I still saw visions of Nanook in Atarnajuat. I wonder if the Inuit would agree. If they did, that would be a testament to Flaherty - fabricated or not.

Avatar (2009) ****1/2

2009-12-24T01:22:00.000-08:00

Jake Sully and Neytiri

An achievement. A milestone. A breakthrough. I can say all these things and they would not overrate what Avatar simply is. Other movies have done 3D but James Cameron, like a god, has created a living, breathing world out of the process. Having experienced it tonight in IMAX 3D, never have I felt more lost in a world. There were shots and scenes that momentarily had me believing I was there. Never have I felt this way with any other movie. Ever. No matter how great a film may be, I always know in the back of my head: this is a movie. It is as Jake Sully comes to believe: the dream is becoming more a reality, the reality more a dream. As of right now, Avatar is the epitome of postmodern in cinema.

However, the one gripe I have (and it's a very minor gripe) is the 3D in motion. There was a bit too much motion blur for my taste. Particularly in the first 15 minutes or so. Perhaps I wasn't used to the 3D look. After all, it's not very often I watch a 3D movie - let alone one I actually want to watch. The ironic thing is the 3D was at its best when most subtle. It had an inexplicable immersive quality to the images. Like depth of field but with... more depth.

Now that I've got that out of the way, there is another aspect of the film that had me just as captivated: the culture, the people. Their dress, language, and sense of cohesion with their world evoked the Native spirit. The sources of the story undeniably drew from the history of the Natives as well. How the more technologically advanced society came along and drew blood whenever these people got in the way of what they wanted. It is exactly what is at stake in Avatar. It is an old story to be sure and the movie has received quite a bit of flack for its derivative plot but I feel that is one of its strengths when viewing the overall picture. After all, this isn't about the story. This is about the experience. And the experience of living among the Natives is one of the great pleasures of Avatar (as well as realizing Wes Studi is voicing one of the Na'vi). No one thinks about the story when you mention The Jazz Singer. You think of it as that movie that had sound. This one isn't going to be any different decades from now.

I can imagine real Native audiences watching Avatar and coming away with a sense of pride for who they are. In fact, I believe they will. Movies, in a traditional sense, have always been ideal representations of our reality. The way we wish the real world was. Well, I could see Native people walking away from this movie empowered. Inspired. After all, movies can do that, can't they? I believe all marginalized populations (and the majority) should watch Avatar. And let the experience instill hope, passion, as well as compassion. For me, the film really is that powerful.

Skinwalkers (2002) ***1/2

2009-12-10T11:42:00.000-08:00

Leaphorn (Wes Studi) and Chee (Adam Beach)

Adapted from a Tony Hillerman novel, Chris Eyre takes a step out of his comfort zone and tries his hand at a (cultural) thriller. The story, although entertaining, is pretty standard fare. However, the attention to Navajo people and details keeps this one from becoming forgettable. In fact, for a genre that tends to emphasize twists and turns, the focus on characterization and culture in this movie is refreshing.

The basic plot follows a string of murders involving victims who are medicine men. There are sacred paintings done in blood to go along with them. Chee believes there could be some connection to the skinwalkers (evil shapeshifters) of Navajo stories. And thus, their pursuit for the murderer begins.

I will not go into further detail in terms of plot. There's actually quite a lot going on despite the familiarity of the story. Besides, what is more intriguing is the deeper conflict going on between tradition and modernity - more specifically, native medicine and white medicine. The movie is utterly predictable. But this ongoing (and very real) conflict is what gives the movie legs to walk on.

Finally, I commend Eyre for taking on genre and populating it with native people. It is much like the film Better Luck Tomorrow (starring Asian-American actors) in that the story is old hat but it is made new by giving the main roles - traditionally filled by white actors - to others. Of course, it is admirable to create unique stories with minority actors. But to change cultural perceptions of people, one must be willing to make changes to the established system. And tackling established genres like these opens doors for actors of color to do the same kinds of roles in more mainstream productions rather than the same Injun, straight A student, cholo, or rapper because Hollywood will realize more and more that we can do them - and more importantly, that audiences will respond positively to such change.

The Exiles (1961) ****

2009-11-30T00:03:00.000-08:00

Tommy, Homer have a drink

Alcohol pervades many of the scenes in The Exiles. Many, if not all, of these scenes are never of these Arizona natives wallowing in misery but laughing and having a grand ol' time - and drink. You can smell it on their breath and clothes its presence is so strong. The modern native bears little to no resemblance to the native of old except in name. The people that inhabit this bygone Los Angeles are driven only by pop rock, fast cars, easy women, and booze. Spanning 24 hours, this is one restless, restless night.

For those unaware, alcohol has been an ongoing dilemma for native American populations at large. Many are consumed by drink and subsequent depression; they find themselves spiraling downward but incapable of dropping the habit. It is only one of the many things they have unfortunately become victims to from white America - along with ill-fated treaties and cultural genocide. It is a reality that has only become more prominent since The Exiles was produced and it is almost revelatory in that Kent Mackenzie (writer, producer, editor, director) was sensitive to this issue decades ago.

It's an admittedly strange film however. More than one account has referred to the movie as a documentary but it isn't. And yet it is. The mouths don't necessarily match the spoken dialogue like a Fellini film. It's shot in a way that makes the film look unmistakably set up. But the characters - the narration in particular - speaks truth. It is as if the natives want to believe this reel world they are currently in is make-believe; when they wake from this dream, they will see themselves back on unfettered land ready to hunt and play. Underlying their laughter is the abrasion of two cultures striking against one another, the need to "progress" and urbanize in order to survive and thrive- all the while preserving their own histories and cultures.

The most poignant words are spoken by Yvonne, Homer's wife:

"I used to pray every night we'd fall into bed and asked for something that I wanted and I never got it or it seems like my prayers were never answered. So I just gave up and now I don't hardly go to church or don't say my prayers sometimes. Well I stopped going to church and all that already. But I haven't started drinking or hanging around Main Street yet."

Yvonne, like some natives, has taken the white man at his word. She is genuinely trying to assimilate in the hopes for better futures for her children to be. She wants them to learn English and go to white schools. For her, God no longer refers to the elements and oral creation stories but the Christian God. She has given the white man the benefit of the doubt only to be severely disappointed. Much like the countless paper treaties, this is yet another tally to the list of failures and broken promises. Nevertheless, she's hopeful - but her final "yet" suggests her patience is running thin. At some point, she will break and succumb. However, this is why the final minutes of the movie prove illuminating for me. So as not to risk spoiling the ending, I will merely say when all else fails, start from the beginning. It's unprecedented in that the film forecasts a collective conscious that would come to develop in current American Indian-U.S. relations.

Atanarjuat: The Fast Runner (2001) ****

2009-08-08T08:36:00.000-07:00

Atanarjuat (The Fast Runner) and his brother Amaqjuaq (The Strong One)

In a way, it was what I expected. And then it wasn't. I expected Inuit customs, traditions, people. However, I didn't expect it to be shot on video. I didn't expect it to blur the lines between documentary and fiction. Based on an old Inuit legend, the story told is undoubtedly fiction. But it also has strong ethnographic characteristics; much of their way of life and daily activities are not shown in tight montages. Instead, they are shown in full as if to preserve their culture on film for future generations to model themselves after. It can be a challenging watch but also undeniably rewarding.

The legend, as told in the film, basically has Atanarjuat take a girl named Atuat - who was promised to another man named Oki. It conjures bad blood and so a bitter rivalry begins that extends past these two - plaguing their families in the process. In the age of Hollywood, a story like this is old hat. But it just goes to prove that movies aren't necessarily about what it is but how it is. And how it's done in The Fast Runner has a maturity to it one doesn't find in typical Hollywood outputs. It understands what the loss of life means for those who live on. It understands that we can easily forgive - but not easily forget. Endings aren't exactly happy here. But they are reasonable.

Now, upon experiencing this, I couldn't help but be constantly reminded of Nanook of the North, the landmark "documentary" by Robert Flaherty. It also charted the Inuit people and their way of life just as it is done here. It has been a long time since I've seen that film and am curious to see the differences between the two. But the chief difference here is that The Fast Runner is shot and told from an Inuit perspective. Much, if not all, of the production was headed by its own people and the spirit shows. It doesn't feel artificial. It feels genuine. Regardless of whether it was released in 2001 or 1901, I imagine the film would've accurately portrayed the Inuit people. In all respects, Atanarjuat is timeless.

Through Navajo Eyes (1972)

2009-08-02T16:19:00.000-07:00

Sol Worth and John Adair, the authors of this book, headed out to Pine Springs and sought permission to carry out their experiment. The answer they received is curious yet enlightening in its necessity: What can film do for our people? It's a question I've often asked myself. Why make films? What are they in the grand scheme of things? I've often felt art only exists to differentiate humans from the animals. Perhaps that is what film is. It is merely confirmation.

That is why the question is surprising. The Navajo ask not what can it do for us spiritually, but on a more modest scale, what can it do for us economically. Arguably, film will not do much for them if anything unless they have aspirations to become successful filmmakers in Hollywood (read: none). The question is valid. It could be justified for the Navajo to say this whole filmmaking business is child's play, nonsense to pass the time. And that is not the Navajo. The contents of this book will have you discover that they are very productive people and this shows in the films the selected group goes on to make.

The experiment is simply to observe how the Navajo students make their films, what their films are about, and their reasons for making them - all with little to no interference on part of the experienced "white" filmmakers. This is all much easier said than done as they occasionally feel the need to teach them "proper" ways to frame shots, tell them to shoot this or that, and edit in ways pleasing to "white" audiences. But they realize differences are prevalent because the Navajo see the world in ways far different from ours. It had nothing to do with a lack of technique or experience and this is related thoroughly in practice films made. Upon showing their films to a Navajo audience, the one film that most resembled the artistry of white film practices was considered confusing, and yes, "white" whereas the others made immediate connections to the people. They would nod in approval.

What they've come to discover is that filmmaking surfaces the ways in which we see the world and what we value. Sure, this isn't anything new but this experiment makes this apparent. In fact, they relate other experiments done among white graduate students as well as the black ghetto. The black kids and the Navajo gave primary importance to accuracy and proper representation while the white students sought to recreate or manipulate the images through artistry. It easily lends to implications of manifest destiny, colonization, and the want to shape things according to our needs instead of living harmoniously with nature.

Perhaps most valuable of all is how quickly the Navajo were able to learn how to shoot and edit film. Their progress was truly unprecedented yet amazingly normal and not worthy of attention to the students. Motion is natural to the Navajo and they saw nothing to be praised. It brings up a good point: the motion picture is something natural to everyone. It is the art most readily capable of recreating life as it is. Where other arts take grand efforts to reproduce these qualities (and still fall short), the camera does this effortlessly. It is not surprising that film has become such a widespread, popular medium and entertainment. It works much like the way we experience the world and the ways in which we dream. Like fleeting moments, we only remember small visual passages in haze. But film, in that respect, is invaluable: it renders concrete our thoughts and memories.

Edge of America (2003) *****

2009-07-20T16:27:00.000-07:00

Three Nations Lady Warriors

Based on a true story, a black teacher is hired to educate the students of Three Nations High. Initially in English, he is quick to catch on to the lackluster girls' basketball team. Soon enough, he begins coaching them. And of course, they begin shaping up. Otherwise, why make this movie?

But Edge of America, another great film by Chris Eyre, is not about basketball but about unity and harmony. Nobody says it better than Cuch (Wes Studi):

"The Creator scattered us to the four winds so we could prove that we're human by finding our way home."

It is a testament of the great ongoing experiment that is the U.S. of A. Could people of all colors, cultures, and creeds live amongst each other? Eyre certainly believes so. But to get there, it may make a man or two go crazy.

But this coach is just the right coach to make it happen - one way or the other. Kenny Williams, played by James McDaniel, may not understand native traditions but he knows the struggle. He's been there and he's risen above it. Yet, he holds high standards for others. Standards that disregard the values of others. There, he realizes he has much more to learn.

Tense, yet inspiring, Edge of America is a movie that makes you feel good. And a rarity, it explores black-indian perceptions. How they relate may open eyes, shatter assumptions (like a few I had going in), and even have you laughing. It's nothing new but it never hurts to be reminded: as different as we are, we are all the same.

Skins (2002) ****

2009-07-03T01:48:00.000-07:00

Geronimo, Dull Knife, Sitting Bull, Chief Joseph

Skins is a more serious, socially conscious sophomore effort directed by Chris Eyre (Smoke Signals). Although not as tight in terms of narrative, there was nevertheless a lot of depth.

On a micro scale, it is about two brothers - one cop, the other a drunk - who love each other in that annoyed sort of way. However, they don't realize this until they understand the harm they do to one another. And as much as I enjoy watching Graham Greene work, Eric Schweig steals the show here with a key scene that reveals a bare humanity in grief that is truly courageous.

On a much larger scale, it confronts the realities of daily life for many natives who cannot stave away drink and live in conditions comparable to the third world. Eyre even seems to suggest that tribal police, despite believing they are helping their own people, do harm to fellow natives also.

What makes this a hard watch at times is knowing full well that the story draws heavily from the hardships faced on the Pine Ridge reservation, home of the Oglala Sioux. I was never aware that the heads of the four famous presidents carved on Mt. Rushmore are carved upon the Black Hills - a region sacred to the Lakota. But I suppose for natives who empathize with the struggles portrayed in Skins, the closing minutes might serve as a sort of cleansing of the soul that has long been denied in their history.

Little Big Man (1970) **1/2

2009-01-20T22:51:00.000-08:00

Dustin Hoffman and Chief Dan George

Little Big Man was directed by Arthur Penn (Bonnie and Clyde) and boasts talents such as Dustin Hoffman and Faye Dunaway - not to mention a great host of native actors. Preceding the narrative elements of Forrest Gump and Dances with Wolves, it recounts the life and trials of a 121 year old man who experienced the ways of both the whites and Cheyenne. His loyalty and identity also sways between the two depending on which will favor his survival.

The great strength of this movie is that it revels in the cultural details of the Cheyenne as well as the major events such as the Battle of Little Bighorn. His first encounter presents us with the usual suspects such as fighting the white man, the proud skeptic native showing animosity towards the new white guest, and the battle practice of counting coup. But their later encounters were very insightful to the Cheyenne as a people. The respect shown towards a hiwani (sp?) and his special status among them was a welcome addition. How they perceived African Americans as the black white man was very new to me and is making me want to research into that further.

But there's something really odd about this film and that's the tone. It doesn't really seem to know what it wants to be; in the beginning, i found myself smiling and chuckling while events leading up to Bighorn had me reserved. It went back and forth between comedy and drama but in a peculiar way. It's as if the film was assuming the same flaws as Little Big Man himself. If this was a conscious decision made by Penn then that's absolute genius really. And that's certainly possible but I don't believe that was the case.

To sum it up, Little Big Man was an epic and ambitious hit and miss. It didn't quite get there but it did one hell of a job trying. And it's hard not to admire any movie that tries that hard.

Mongol (2007) ****

2008-10-16T23:35:00.000-07:00

Mongol camp

I know. Mongolians aren't native Americans. In fact, they're on the other side of the world. But replace the actors in this film with native Americans and you've practically got a film about native Americans before European contact.

Building on that, if you ascribe yourself to the Bering Strait bridge hypothesis, then the connection no longer feels so far off. I definitely respect the fact that there are many native peoples who feel this land has always been the land in which they were conceived but I present this merely as an open possibility. The cultural aspects such as the yurt (Mongol equivalent of a hogan), campfires, migratory patterns, and tribal warfare have striking social similarities to the tribes forged in America; watching this, plains tribes such as the Lakota kept springing forth in my mind. Yet, the most significant link between the two worlds is that the Mongol tribes were also considered ruthless and savage by outsiders who knew nothing of their social and political developments.

I can go on and on but the main purpose in opening the way I have is to justify this entry. Hopefully I have because this is a solid revision of what Temudgin (Genghis Khan) would go on to do. The narrative follows his unlikely childhood survival which was made possible by the aid of a Mongol friend named Jamukha who he would soon deem brother. From there, he carries out his revenge and has a vision of unity among the various Mongolian tribes.

Directed by Sergei Bodrov, simply put, the visuals are stunning. I'm a sucker for period action films like this and this one didn't disappoint me. Despite what I read beforehand, Mongol isn't really loaded with action sequences and Bodrov did a very good job of balancing the action with necessary drama. He also takes the time to focus on a couple cultural customs of the tribes although I felt myself wanting more in this respect. But Mongol is truly epic. It's easy to get lost in this world and I only wish it would've lasted longer. The good news is that this is part one of an intended trilogy.

Apocalypto (2006) ****1/2

2008-08-26T00:21:00.000-07:00

What Apocalypto really comes down to is an incredible cat-and-mouse picture: that was Mel Gibson's primary intent and he blasted that bulls-eye. Set during the decline of the vast Mayan civilization before the arrival of the Spanish missionaries, the story basically follows a tribesman named Jaguar Paw (Rudy Youngblood) whose tribe faces violent rapture by another tribe and is led to be a sacrifice for the god Kukulkan. Shortly after, the chase ensues and winds down to pure action; in terms of genre, there really hasn't been a chase as memorable as this one in a long time but undoubtedly, it comes at the cost of exploring the depth of Mayan advances in civilization.

This movie and The Fountain by Aronofsky sparked an interest in Mayan peoples for me and prompted me to discover more about them in general. I was in awe by how advanced and sophisticated they were culturally and scientifically before their first signs of collapse in the 8th/9th centuries; also, the fact that the period of Mayan culture that was depicted in this movie was during its decline was equally shocking considering how massive it seemed in the film. I honestly believe the Spanish would've grown restless and defeated had they faced the Mayans during their peak as it took them nearly two centuries to subdue the Mayans substantially.

Yet, for all its strengths, the one aspect I found disagreeable was the quote from Will Durant that opens the entire movie:

"A great civilization is not conquered from without until it has destroyed itself from within."

It's a foolhardy statement that attempts to justify the fall of an entire way of life.* I believe there's some truth to it but there were ultimately so many vital factors at work, it'd be foolish to try and pin it down to one such statement - no matter how eloquent. But in context with Gibson's perspective on the Mayan collapse, a case can definitely be made for such words.

Much can and has been said about the historical inaccuracies but I feel the structure of narrative film is more about experience than it is dates and facts. And Apocalypto is undeniable in that sense: like 2001, we are stranded in uncharted territory - free to roam or drift as we please. Just as colonists and missionaries considered their world new, so this is a new world for our senses.

*Descendants of the ancient Mayans as well as their cultural/ethnic identities still persist to this day.

The Last of the Mohicans (1992) ****

2008-08-11T11:14:00.000-07:00

Wes Studi as Magua

Based on the 1936 film adaptation of the same name, The Last of the Mohicans originally derived from the classic American writer James Fenimore Cooper. Directed by the incredibly consistent Michael Mann and starring such talents as Daniel Day Lewis, Madeleine Stowe, and Wes Studi, this film was unsurprisingly impressive. It takes place during 1757 in the midst of the French and Indian War in which the French and British fought for control of the American frontier; the French employed natives to aid them in their conquest. The film itself is an excellent period piece of adventure and action made with great attention to detail and aesthetic realism. It's a nice treat to see Russell Means have a relatively significant role in the movie also; I always thought of him as an activist for natives first and foremost but his acting was respectable. But the real standout is Studi whose fierce performance as the Huron Magua is a defining example of the kind of fire and heart that is characteristic of just about every role he's played to date; he embodies a natural warrior spirit that carries over to the screen with such passion and intimidation that few actors possess.

But the gripe I have with this film - and its novel for that matter - is that the title itself is entirely fictional. The Mohicans still exist to this day although they are now collectively named the Mahicans. Since their contact with the Anglos, their people faced an unusually strong conversion to Christianity by Protestant missionaries and have since settled primarily in the state of Wisconsin away from the Hudson Valley they originally resided in. The other problem I have is that the Huron (aka Wendat) are mostly portrayed as unrelenting savages of war with murky motives and allegiances. The fact of the matter is, many tribes engaged in warfare against other natives and the Huron were not unique in this regard. The Huron were actually devastated by the Iroquois who had allied with the British. So despite the impression one may get from watching this film, the Huron were not truly against the English but only on the grounds that the rival Iroquois were in alliance with them.

Smoke Signals (1998) *****

2008-08-03T17:21:00.000-07:00

Smoke Signals is arguably the most complete embodiment of what the native American identity has grown to be. Both Victor Joseph (Adam Beach) and Thomas Builds-the-Fire (Evan Adams) serve as what I would deem "common" native personalities at the outset of the twentieth century; Victor is a stern and hardened free spirit distrusting of others (particularly whites) whereas Thomas represents a man deep in his roots and an open heart for all.*

Much like of ancient oral tradition, the film opens like a campfire in its narration and recounts a fateful event on the 4th of July involving Victor's father Arnold (Gary Farmer) and they celebrate with fireworks and alcohol; it becomes obvious what you see and what you hear are not one and the same and from there the story unfolds and inevitably reveals the truth. The writer-director Chris Eyre adds a light touch of comedy and insight to the seriousness of its resolution making for that "sun-dried" cinematic style that's becoming a staple flair of native films. Definitely impressive from a filmmaker not only making his debut but also being the first native to produce, write, and direct a feature.

Another brief yet significant performance was done by Irene Bedard who plays Suzy Song in the picture. A radiant spirit of natural beauty, she somehow makes the truth palatable: instead of perceiving the father as an abusive brute, she makes it possible to see him as a well-meaning but troubled figure. And this can go a long way in how one sees the telling night depicted. Eyre did well to cast her in this role as she serves as a great contrast when facing Victor.

If there is one film I'd recommend first and foremost exploring native cinema, this is the post to start from. From here, others will fall into place.

*Note: It is not my intention to generalize native personalities as I'm sure there are plenty who are neither of these.

Bury My Heart at Wounded Knee (2007) ****

2008-06-28T12:19:00.000-07:00

Adapted from the sprawling book by Dee Brown, the film wisely takes the route of one particular tribe to relate the general native American experience of the late 1800's. I've briefly skimmed through the chapters before and it culls together an incredible amount of history and accounts from numerous tribes and it simply wouldn't have been feasible to cover all that on a conventional level. Even then, it falls a little short for that very reason. But the work is exceptional despite this predicament and I encourage anyone to check this out.

Choosing to focus on the Sioux, it begins at the outset of the historic battle of Little Big Horn in which Custer and his men were killed. From there, it soon develops a fork in which the Sioux are destined to survive on a reservation and a young Sioux boy is taken to learn the ways of the civilized white man through boarding school. It's this story that particularly interests me due to the fact that light hasn't really been shed on the American Indian boarding school experience during that period. Ohiyesa (top left photo), or Charles Eastman as he came to be known, is the youth the film focuses on and he grows to be a model native for hopes of assimilation. In terms of the Sioux experience (more Lakota than anything else), they cover the Dawes Act of 1887, the capture and death of Sitting Bull, the Wounded Knee Massacre soon after, and the Ghost Dance religion that would spread by way of a shaman named Wovoka. Don't fret: there's more than what I've listed here and it goes to show the care that went into making this production.

If there's one thing I wish to address, it's the nature of the Ghost Dance. Wovoka never intended to propagate the prophecy that the white man will soon disappear but rather, that the natives should learn to live in peace with the whites. This was the genesis but as other tribes picked this up as it spread northward into the Plains, other tribes soon interpreted it as the way it's told in the film. So in this sense, it was a tad inaccurate but it was still great that they chose to emphasize it at all. However, the film glosses over why and how the Ghost Dance played a huge role leading up to Wounded Knee. I felt this could've made the present scene stronger than it is now without detracting from the overall arc of the narrative.

The Last of His Tribe (1992) ***1/2

2008-06-23T23:47:00.000-07:00

Alfred Kroeber (left), Ishi (right)

Ishi is the equivalent of discovering a once-thought extinct species having actually managed to survive sight unseen for decades. From the southernmost Yana, he was the last of the Yahi tribe and the last remnant of a "wild" America - of a frontier West. He represents a bygone era when cowboys and Indians weren't just movies but a way of life; it meant more than rowdy little boys simply playing dress up. So one could imagine the tremendous feeling of loss when the man passed in 1916 of tuberculosis; it meant losing an individual who didn't see bows and arrows as tools for sport but as a means of survival. And for those who developed a strong likeness and spiritual connection to his gentle soul, it also meant the loss of a great, singular friendship.

But of course, onto the film.

Directed for HBO TV by Harry Hook, The Last of His Tribe is a respectable movie although there were some glaring inaccuracies. I've read what is perhaps the seminal literary work on the man, Ishi in Two Worlds by Theodora Kroeber (Alfred's wife), and anyone who watches this film after having read that book will easily catch one of the most annoying changes made to the filmic adaptation. And there are several instances not unlike this one throughout the movie but fortunately, it doesn't take away from the main point. And ultimately, that's what matters. Besides, by now, people should expect cinematic tellings of literature to be pretty liberal in outcome anyway. So all in all, this was a decent effort made respectable due to Graham Greene's bold performance as Ishi. This easily ranks among one of his best and I believe he really captures the gentleman of the real figure as well as his ever-constant curiosity.

Regardless, read the book if you have the time to invest in it. Because of course, for time constraints, key things had to be omitted. Much like the Civilized Tribes had their Trails of Tears and the Navajo had their Long Walk, the Yahi also had the Long Concealment. The film eludes to it but in brevity and that's unfortunate because it marked a point of no return. With white settlers encroaching further into their natural land and diminishing their numbers dramatically, Ishi and the couple survivors at the time forced themselves into near oblivion by covering their tracks with the utmost urgency and care for so long that many eventually came to believe they no longer existed. That is until... well, the film happens to delve into it a bit (although a bit inaccurate once again). Another aspect of Ishi's life that could've made for an interesting character study is his gradual transition into civilization in the way he learned to save his earnings, work for wages, purchase goods, and get around on the trolley. He had a keen fascination for the most basic of inventions (ie: matches) while he saw natural and even bland some of the great wonders (ie: airplanes, skyscrapers) that would've held most of us in awe. But such was his unique perception of the world around him.

**SPOILERS**

For those who have seen the film, I felt it necessary to note some of the errors not simply for the sake of accuracy but because I feel it best to help people know the figures for who they really were. Some of the errors made involve compromising their actual characters which can lead people to develop false conclusions about them.

Alfred's wife is named Henriette Kroeber in the film but her real name is Theodora. Also, she dies well before Alfred but she actually went on to survive Alfred as well as write the book Ishi in Two Worlds among others.

Alfred Kroeber is developed as a well-meaning person but keen on completing his book on Ishi - sometimes at the expense of his friendship with Ishi. But aside from devoting his life to native history and defending native rights in general, Alfred was actually a very loyal friend of Ishi's to his death and his loss affected him profoundly for a long time thereafter.

Pope, who is portrayed as little more than an adventurous oaf, arguably had the deepest connection to Ishi on several levels. His love for practical experience of native cultures (ie: hunting) led to a spiritual closeness to him that was difficult to surpass even by those closest to him.

Ishi didn't actually wear his "civilized" articles of clothing during the scenes in which Ishi and the others go out to Deer Creek (his homeland) to live the Yahi way. He adhered to the traditional Yahi male dress of a covering around his waist and over his genitalia.

A scene suggests Ishi shared an evening with a prostitute provided by Pope. This was never the case as Ishi harbored a shyness towards women. After all, by the time he reached a sexually active age, the remainder of women were more or less related to him in blood and was during the period of Concealment. And he also never seemed to really indicate any want of a sexually active lifestyle.

Billy Jack (1971) **1/2

2008-06-06T14:50:00.001-07:00

Co-directed and starring Tom Laughlin, Billy Jack is a half-breed native American who has fought in the Vietnam war and has strong tribal ties to the land he defends. Who he specifically defends it against are the sheriff and his goons if you will who have no regard for tribal boundaries or the people; it's not just natives either as he goes on to attack an entire school. And herein lies the genesis of the story.

Billy Jack is of a series I've learned; the character is first introduced in a motorcycle flick called The Born Losers. Feeling very anti-establishment and "hippie", there's a lot of support for Mary Jane sprinkled here and there. All the while, Billy uses his Hapkido skills to take down corrupted officials and the law. Yea, it's a strange little film but surprisingly, it wasn't really campy at all although it seemed wavering; for a strong message film, it has an unmistakable midnight movie/exploitation feel through and through. But perhaps those were the very people Billy most connected with at that point in time.

Spoilers herein ***

I first developed an interest in this after reading a book called Lakota Woman by Mary Crow Dog. She describes a day she, her husband Leonard, and their friends decide to go watch Billy Jack. They spoke about how the final shootout reminded them of the ordeal they faced during the Wounded Knee Incident of 1973 in which natives held out against government forces packed to the brim with artillery for about a month. They go on to say in comparison to that, Billy had it easy. And I must concur.

In regards to cultural presence, there are some interesting scenes although I'm skeptical about its authenticity. One involves an Indian Snake Ceremony in which a man who wishes to prove himself must stand within the proximity of a snake at all times and allow himself to be bitten multiple times; according to the intro credits, the consultant was Rolling Thunder of the Shoshone. Another is the Wovoka Friendship Dance and resembled Smithson's Spiral Jetty in formation. This one was consulted by a member of the Paiute. I wish they could've shown these in their entirety but I understand for the purposes of telling the bigger picture, they must be edited to serve that end.

This is a decent movie but I'd only recommend it to those who have a strong taste for cult or exploitation. And even then, it may not particularly satisfy as I've mentioned before: it stands on middle ground and seems somewhat content with staying that way. I suppose one could say that's a nod to Billy himself.

The Doe Boy (2001) ****

2008-06-01T14:24:00.000-07:00

This was recommended to me by a comment left on my Four Sheets post. And I'm very happy I picked it up. The Doe Boy is about a haemophiliac kid named Hunter (James Duval) born to a white father (Kevin Anderson) and a Cherokee mother (Jeri Arredondo). The father is quite a man's man in that he loves to hunt, do his own repairs, and has a passion for flight so Hunter has a difficult time pleasing him in those regards due to his health.

Directed by Randy Redroad and produced by Chris Eyre (Smoke Signals), this is another impressive debut about a boy who tries to cope with his father's standards as well as the obstacles placed in his life. Running just a tad under 90 minutes, it's quick yet it takes its time in telling a simple story. What I liked most about this film is it doesn't make an issue out of his father being white. It becomes apparent that both worlds are well accepted by everyone despite some skepticism here and there.

Windtalkers (2002) ***1/2

2008-05-25T22:17:00.000-07:00

Preston and Frank Toledo, July 1943

Language is quite possibly the most powerful tool ever created; it has the power to inspire as well as destroy. In the case of World War II, it allowed the U.S. marines to prevail in victory over the Japanese. The Navajo code talkers, using their own language nonetheless, gave the U.S. a decisive advantage due to the fact that the Japanese code breakers could never "decipher" their transmissions. Another fact I wasn't aware of is that the Navajo language wasn't the only one in use but in researching, I discovered the Basque, Comanche, Choctaw, and the Cherokee were also employed in the same manner in both World Wars.

Directed by John Woo, Windtalkers is like an action film draped in war clothing. The battle scenes aren't like the ones in Saving Private Ryan or Band of Brothers but more like Woo's own Hong Kong ultra-violent gun flicks like The Killer and Hard-Boiled which are classics of the genre. That high-octane "bullet ballet" style is very visible here and one wonders if the movie could've worked better had he restrained it. Nevertheless, in terms of Hollywood action, it delivers quite well - albeit at the cost of shoving the code talkers to the background instead of at the fore as the title would suggest. A definite plus here though is the representation of Navajo cultural characteristics such as the language as well as the strong emphasis of turquoise among the people themselves. Also, Adam Beach turns in a strong performance here but Roger Willie (Navajo) as Whitehorse is arguably the surprise standout here. He brings a lot of class and does his role justice.

As polished and Hollywood as this movie may be, I enjoyed it very much despite its couple setbacks. Regardless of the issues some may have with its authenticity or lack of full representation, at least the story's been told. I never knew about this aspect of the war until this film came out and I figure that must speak for something.

Four Sheets to the Wind (2007) *****

2008-05-18T21:23:00.000-07:00

Tamara Podemski in Four Sheets

Four Sheets to the Wind is the kind of native American film I've been waiting to see for a long time now. It's a film involving native Americans but not about them. Essentially, they are seen as persons first, native second. A few references are made to the fact that they are Seminoles (rightly dubbed the "unconquered people") but that's it. This is primarily a small story about how a family copes with the untimely loss of their father and it's a beautiful, natural movella (movie novella) of sorts. It's as though you're simply dropping in on real people with real lives and you're just along on the ride for a little while.

The ultra-natural performances by Podemski (Saulteaux/Israeli) and Lightning (Plains Cree) are top notch and are the ones that primarily connected me to their struggle. But another background standout was Jeri Arredondo as their mother; however brief, her presence seemed to anchor the cast as well as the family. This is writer-director Sterlin Harjo's first feature outing and an incredible debut at that; he has a distinctive voice that seems to speak the truth and cinema could always use more honesty. He is currently writing Barking Water according to IMDB; it doesn't state whether or not he's directing it but regardless, I'm looking forward to his next work.

Grey Owl (1999) ***1/2

2008-05-12T18:45:00.000-07:00

September 18, 1888 - April 13, 1938

A film directed by the multi-faceted Richard Attenborough (Gandhi), here is a simple, straightforward biopic about Grey Owl who was born Archibald Belaney. As one might derive from his birth name, he indeed adopted the Grey Owl moniker later on in life when his curiosities for nature and native culture were deep-seated and came into fruition. That unfortunately derided his stature and reputation as a representative of the Ojibwa peoples as well as an outspoken conservationist not unlike John Muir. His breadth of life serves as a prime example of the adage: it's not where you're from but where you're at.

I had the pleasure of watching this in class for Native American Studies and although the initial sight of Pierce Brosnan in native attire was jarring (I couldn't get the thought of Remington Steele out of my head), he managed to play down his accent for the length of the picture and pull off a respectable portrait of the man. Aside from the bio, a great reason to watch this is to simply hear the actual native Canadians speak in their beautiful language with such fluency and modesty. Another gem in viewing this is to get a general idea of the waning fur trapping industry during his time in Canada. He ultimately gave up such prospects and led a mental paradigm in terms of ecological awareness that is just now bursting at the seams all around the world. Of course, we now refer to it simply as global warming.

Also an author, his autobiographical books are what ultimately led him to pursue his hesitant motivations. Eventually going on to speak in public exhibitions, it is ample to note that Attenborough himself also caught one of these sessions at the famed Palladium theatre along with his brother and was very affected and moved by his presence.

Flags of Our Fathers (2006) ****

2008-05-11T12:07:00.000-07:00

Ira Hamilton Hayes

January 12, 1923 - January 24, 1955

This may seem like an odd choice in terms of native representation in film as well as a first review for a blog devoted to archiving native American voices in cinema but in my opinion, this is just as good a beginning as any. After all, Clint Eastwood's Flags is a film that portrays a broad spectrum of the American experience - not much different from the reality that is this country. The reason why I chose this is particularly due to its somewhat subsidiary, yet nevertheless prominent emphasis on Ira Hayes who was the Pima forbearer of the American flag on Iwo Jima. However brief, his presence is a clear punctuation of the post-war experience of many natives; severe alcoholism is a mass contagion for all native peoples and is one of the primary causes of death among them. To add furthermore, he was yet another case of Post Traumatic Stress Disorder (PTSD) which affected veterans of all colors and creeds. Despite this, he had a considerable stint which notably had him raise the flag once again in the 1949 John Wayne film The Sands of Iwo Jima. But he was a man who abhorred the mechanics of fame and was found dead lying in his own pool of vomit and blood near his Gila River reservation in Arizona.

The film itself is a very good companion to the otherwise superior Letters from Iwo Jima also directed by Eastwood. Adam Beach bears a ghostly resemblance to Hayes and proves once again that he is a competent and versatile actor among the Hollywood upstarts today. But anything else I say would more than likely just reiterate what many others have already said; it's a film worth viewing subsequently followed by Letters.

Hayes is not a unique case though in the annals of American military history. Natives have always been great contributors to cause and country; I recall the use of the Navajo language to essentially build a "code" that was rendered indecipherable to the enemy which was utilized during World War II (this was also the premise of a film called Windtalkers starring Nicholas Cage). It's a curious wonder though that natives will enlist in the Army and fight for a country that has done virtually nothing but wrong to them; perhaps it is the ancient spirit that yearns and clamors for honorable confrontations as I recall reading an elder say that they fight because it is in their blood to fight. After all, it is better to be oppressed by one tyrant as opposed to two.

Through Native Eyes

2008-04-21T21:15:00.000-07:00

A maelstrom of snow and rain, my girlfriend and I walked into a bookstore native to her home in Arizona. Used and new, the first aisles I proceeded to were labeled native American. Lands of the Navajo and Hopi peoples among others, naturally, there was a wide selection available unlike the ones I frequent in California. Then I found a bargain copy of a book called Through Navajo Eyes. Ecstatic, I showed it to my girlfriend who is Navajo/Dine in blood and she smiled. It fascinated me not only because it concerned film, a passion of mine, but filmmaking at the hands of her people. The result was a series of documentaries seen from an indigenous perspective.

Then I got to thinking, and subsequently, researching into native cinema in general; aside from the films we know like Dances with Wolves and regulars such as Wes Studi and Graham Greene, there wasn't much behind the lens. Of course, this is changing with the likes of directors like Chris Eyre (Smoke Signals) who is Arapaho-Cheyenne and the Ojibwe actor Adam Beach (Flags of Our Fathers, Bury My Heart at Wounded Knee). There are even independent filmmakers far and away from the mainstream such as Canadian native Alanis Obomsawin, a woman who has been documenting the First Nations of Canada for decades now. Unfortunately, the fact remains - they are difficult to come by if at all.

A couple months pass, I remembered Sacheen Littlefeather. For those who don't know or remember, she was the native (not Mexican as had been noted) who accepted Marlon Brando's Oscar for The Godfather.

(Herein lies the complete intended speech for that night.)

http://www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html

An excerpt:

"...the motion picture community has been as responsible as any for degrading the Indian and making a mockery of his character, describing his as savage, hostile and evil. It's hard enough for children to grow up in this world. When Indian children watch television, and they watch films, and when they see their race depicted as they are in films, their minds become injured in ways we can never know.

Recently there have been a few faltering steps to correct this situation, but too faltering and too few, so I, as a member in this profession, do not feel that I can as a citizen of the United States accept an award here tonight. I think awards in this country at this time are inappropriate to be received or given until the condition of the American Indian is drastically altered. If we are not our brother's keeper, at least let us not be his executioner."

It was then I saw the need to forge an awareness of their collective visions. I'm sure there are others more knowledgeable than I may ever be but the more we advocate their voices, the more they will be heard. The mission of this capsule, if you will, is a modest venture; I intend to review, document, and share anything I happen upon that pertains to native cinema. Truth be told, I am usually buried in schoolwork, my own filmmaking endeavours, and of course, learning more about the peoples that have come before us - and are still among us. So forgive me if my entries are few and far between at times but I do intend to build this as consistently as possible.