Sidekicks and Savages (Part I)

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(Part II will appear next Friday.)

Rabbit-Proof Fence is my favorite big-screen movie of American Indians.

But that’s an Australian movie, you say? Yep. The best film of American Indians is a Down Under 2002 movie about aboriginals without a loin-cloth, smear of war paint or drop of firewater in sight. It’s the story of three young mixed-race girls who find their way home after being ripped away from their parents in 1931 by the government and trained to focus on their “white side” so they can become somebody’s servants. A few critics have complained that this based-on-a-true-story movie goes overboard in demonizing the main white character (Kenneth Branagh) and depicting most other whites of the era as deeply bigoted, morally uncourageous paternalists. What could the director have been thinking?

The American version of Rabbit-Proof Fence has been out there for the telling ever since Thomas Edison showed his “movie” Hopi Snake Dance at the Columbian World Exposition in Chicago in 1893 on the brand-new kinetoscope his staff had developed. It’s the story of how American Indian children were torn from their customs, religions, languages, tribes and parents by demons and paternalists who saw cultural genocide as the proper modern alternative to the centuries-old physical genocide that had become no longer an acceptable course of action. But of all the hundreds of movie Westerns depicting Indians, this story has failed to generate excitement among four or five generations of movie-makers. Instead, the Hollywood Indian has prevailed.  

As Ted Jojola, an Isleta Pueblo Indian and associate professor at the University of New Mexico, wrote in his 1998 essay, “Absurd Reality II: Hollywood Goes to the Indians,” Edison’s choice presented a stereotypical view of American Indians that would …

“…persist into contemporary times. Its longevity though, is explained by the persistence of myth and symbol. The Indian became a genuine American symbol whose distorted origins are attributed to the folklore of Christopher Columbus when he ‘discovered’ the ‘New World.’ Since then the film industry, or Hollywood, has never allowed Native America to forget it. The Hollywood Indian is a mythological being who exists nowhere but within the fertile imaginations of its movie actors, producers and directors. The preponderance of such movie images have reduced native people to ignoble stereotypes.”

It should not go without mentioning that Frederick Jackson Turner presented his The Significance of the Frontier in American History” in Chicago the same year as Edison’s movie. Turner’s acclaimed thesis was that the frontier had shaped America and the American character, but that it had closed in 1890, that being, not coincidentally, the year the 7th Cavalry got revenge for Custer by slaughtering 300 or so Lakotas at Wounded Knee Creek. While Turner’s thesis has subsequently been deeply critiqued, it held sway among academics and others for a century and still resonates for some today.

What this has meant for the movies is the same as you see in most school textbooks: The end of the frontier marks the end of the Indian. With few exceptions – and none of them even close to the epic films that reinforced the dime-novel, wild-west-show image of Indians that was well-formed before the turn of the 20th Century – most movies about or including Indians have been displays of racism and ahistoricity. They have performed a cultural genocide no different, but a great deal more widespread, than the Indian boarding schools of America which started long before the whitification schools of Australia were pressed into service. The best of these movies, however, have been finely crafted, deeply entertaining and gorgeously photographed productions, enjoyable for all kinds of reasons if only you can keep yourself from retching during certain segments.  

That wasn’t a problem when I was young. As a kid, if it was movie, I tried to see it. The only real theater was 30 miles away, a trip we rarely made, even more rarely for entertainment purposes. But some entrepreneur had struck a deal with the local board and installed a screen in the auditorium of the consolidated junior-senior high school where I lived in southwest Georgia. We used to sneak in to avoid paying whatever the going rate was for a Saturday matinee. A dime? A quarter? I can’t remember. I do know that in my extended family at the time, admission was too expensive to hand out to my dozen cousins and me, so we winged it.

When we came home, we drove my grandfather crazy playing cowboys-and-Indians. None of us Seminoles and Creeks wanted, of course, to be Indians in our game because of what we saw in those movies. Not that there were usually any real Indians to watch, but reenacting the demeanor of heavily made-up white warriors and suffering their fate was not the kind of thing any sane kid would repeatedly choose for fun. The youngest of us usually caught those roles. I was nearly 16 before I figured out how screwed-up it all was.

I shouldn’t have to say this in a progressive venue, but I’m going to anyway because I don’t wish to be misunderstood. For everyone, Indian or non-Indian (as well as part-Indian and part-something else), movies are subjective. We bring to the theatre (or wherever we watch movies) all our varied prejudices, upbringings, cultural quirks, generational specificities, gender and ethnic contexts, our urban sensibility or ruralness, our economic class and geography, just as we do to every venue in the rest of our lives.

Our unique mixtures make us focus on different things. My longtime Kiowa friend Tim Kloberdanz loved Dances with Wolves and nearly walked out on Last of the Mohicans.From beginning to end I hated the Kevin Costner film (a bad remake of Little Big Man) and fully enjoyed the flawed Mohicans, including watching the then-53-year-old Russell Means sprint youthfully through the forest in a muck-up of James Fenimore Cooper’s original novel. I’m just trying to say, to be really, really clear about this, just as all European Americans and African Americans and Asian Americans don’t think alike, all Lakota, Navajo, Haudenosee and Seminoles don’t think alike. So, for anyone to whom it isn’t already obvious, as I comment below on four movies about American Indians, let me reiterate: I speak only for myself.

While our viewing of movies is subjective, however, the making of movies is something else entirely. Without getting into specifics of capitalism and empire, the reinforcement of the dominant paradigm and the adherence to cultural norms, it’s no news to anybody that movies, including some of the most aesthetically pleasing, have been tools of societal propaganda. John Ford’s career shows just how complex that can be. Why pick on somebody who made his last film more than 40 years ago? And clearly one of the best and most prolific directors of all time? Because he did more to shape the quintessential Western than anybody, and thus the image of the Hollywood Indian.

Richard Maltby has written that Ford’s movies were intended to be false historical representations. And Ken Nolley, English Professor at Willamette University in “The Representation of Conquest: John Ford and the Hollywood Indian: 1939-1964″ wrote:

“If fictional representations are taken as history, they have real historical consequences. In this sense, Ford’s films function as if they were historical texts, constructing a sense of Native American life on the frontier, participating in the social and political debates of the era in which they were produced, and helping to construct much of what still stands for popular historical knowledge of Native American life.”

During World War II, like many Hollywood directors, Ford made a couple of real propaganda films. But it was his shaping of the genre of the Western in which he made his greatest contribution. In these epic, poetic, panoramic, big-story movies, although no real Indians appear as stars, the Indian myth is ever present. The trajectory from Stagecoach in 1939 to The Searchers in 1956 to Cheyenne Autumn in 1964 takes us from crude racism through semi-critique to soppy sympathy.

In almost every Top 100 movies, The Searchers appears. This year, it was named the No. 1 Western ever by the American Film Institute. (Ford’s Stagecoach clocked in at No. 9.) Because my Libyan-raised stepdaughter was taking a film class this semester and her teacher told her about this movie, I watched it for the first time in 15 years a couple of months ago. It was a rough go.

In its own time half a century ago, The Searchers was not particularly popular with the critics. It has since come to be seen as perhaps the director’s best. John Wayne, Ford’s star in 24 films, called it his favorite part. That role was one of redemption as lonely, cynical, “redskin”-hating, Confederate war veteran “Ethan” seeks to find his niece “Debbie” (Natalie Wood) – abducted as a girl by Comanches – to kill her and end the misery of  living among these savages. His turning point comes when he rescues her after five years of searching and at the last minute chooses not to blow her brains out for being “soiled.” Many critics see the film as a critique of anti-Indian racism. Ford’s insertion of miscegenation at a time when this was nearly taboo in Hollywood gives this view more credence.

I don’t buy it. For all its scenic beauty, angst-ridden characters and skillful story-telling The Searchers does nothing to erase the myth – that is, the lie – of the American Indian created in his (and a multitude of other directors’) movies. In part, that’s because Wayne’s characters are so often Indian-killers in Ford’s films, and that carries over even though “Ethan” certainly was Wayne at his best and most nuanced. The fundamental problems are the same as in all Ford’s films as regards Indians: The narrative is defined by white characters and white consciousness. Everything, even the choice of music, plays to the white audience’s sensibilities. In most of his films, it is true, there are good Indians and bad. You can tell which are which with ease. The good Indians don’t resist.

In The Searchers, there are good and bad whites. White atrocities, too. But there are no good Indians. Chief Scar (Henry Brandon) is presented as Ethan’s red reflection, nasty, brutal, hateful. But we don’t get his full story in order to humanize him, nor that of any other Indian in the movie. What we do get, for example, are scenes like that when the 7th Cavalry herds captives after a raid into a fort. Ethan and the mixed-blood Martin (Jeffrey Hunter) check out the white captives in the fort’s chapel. One of them is a crazed young woman who screeches and rocks her battered doll (which turns out to be Debbie’s). A pair of obviously crazy girls hug each other. In keeping with his character, Ethan views them with disgust.

But what is the audience to think? Why is this woman whacked out; why have these girls gone insane? Comanche life is the film’s unspoken reply. In fact, from long before the Republic was founded, most captives taken by Indians as young children had to be forcibly returned to their white parents if they were “rescued” after a few years, and many subsequently ran away back to the tribes. The historical “Debbie,” Cynthia Parker, was abducted in a Comanche raid in 1836, recaptured in 1860, and died four years later, having never readjusted to white society. Her son was the famous Comanche chief Quanah Parker, who warred on whites until 1875 and then adjusted quite well to the white world, so much so that today some Comanches (Numunuu) still consider him a sell-out for an agreement he signed in 1892.

At the same time Debbie is rescued, Ethan takes out his anger on the dead Chief Scar by scalping him, which, if you want to go there, has all kinds of layered psycho-sexual meaning regarding Ethan’s view of the raping, marauding, savage Comanche tainting the white woman, and Ethan’s unconsummated love for his brother’s wife that appears as a loud whisper in the earliest frames of the film.

A word, too, about the use of that stunning Southwest topography. Nearly every outdoor frame shows the West as wilderness, untamed, unpopulated, ready and waiting for white settlement, a reiteration of one of the oldest myths since Englishmen landed in the Western hemisphere.

Ford reportedly said: “My sympathy was always with the Indians.” At some level, that is undoubtedly true. But that was not the overall impact of his films, including The Searchers, with the partial exception of Cheyenne Autumn, his last Western, and one that some might take as an attempt to make up for all the others he made. Had that movie been told from the Indian point of view, instead of through the lens of white romance, and with Indians instead of “Indians” in lead roles, sympathy might have turned into something more powerful.

Intermission

While you’re waiting for me to change reels, let me recommend six books on the subject of Indians in film that are part of my library.

The White Man’s Indian (1977) by Robert F. Berkhofer

Hollywood’s Indian: The Portrayal of the Native American in Film. (1998) edited by Peter Rollins and John E. O’Connor. In the foreward, the late ethnographer Wilcomb E. Washburn writes:

Critics can easily find … incorrect and anomalous details in any number of Indian films. Others will apply questionable abstractions, such as “collective wish fulfillment patterns” in interpreting Indian films. Still others will use the past to  comment on the present (for example, Soldier Blue or Little Big Man which allude to the Vietnam War). Few will agree on what films truly represent the American Indian, but no one should be deterred from debating the question. The “historical reality” – if one can accept the concept at all – will always remain elusive, speculative, and controversial.

The whole anthology is terrific, but especially Ted Jojola’s essay, “Absurd Reality II: Hollywood Goes to the Indians”; Ken Nolley’s essay, “The Representation of Conquest: John Ford and the Hollywood Indian”; James Sandos and Larry Burgess’ “The Hollywood Indian vs. Native Americans: Tell Them Willie Boy Is Here“; and Amanda J. Cobb’s “This Is What It Means to Say Smoke Signals. If you only read one book on Indians in film, this would be a good one.

Fantasies of the Master Race: Literature, Cinema and the Colonization of American Indians (1998) by Ward Churchill. I’ve had massive personal, professional and ideological differences with Ward Churchill over the years, but this book of his is worth the read.

The Book Of Westerns (1996), edited by Ian Cameron and Douglas Pye, especially the essay by Richard Maltby titled “A Better Sense of History: John Ford and the Indians”

Wiping the War Paint Off the Lens: Native American Film and Video (2001) by Beverly R. Singer and Robert Warrior

Making the White Man’s Indian: Native Americans and Hollywood Movies (2005) by Angela Aleiss.

Transformation

Communicating with images can be more difficult than communicating with words. Despite being worth a thousand words, pictures – moving or not – are more subject than words to misinterpretation by the viewer taking in these images on an emotional and sensory level. Combine that with the fact that, from the beginning, the depiction of Indians in the movies has been designed to meet the needs of non-Indians, to fit them within the master narrative, and you come to understand why Hollywood Indians are far from real.

Some films made attempts to depict Indians differently from the myth. Or rather, to depict the whites who interacted with them more accurately. For instance, there’s The Half Breed (1950 – greedy traders),  Apache (1954 – crooked Indian agents), Run of the Arrow (1956 – bad soldiers). But, with the partial exception of Cheyenne Autumn, there’s no whole-hearted attempt to demolish the myth.

Two films came out in 1970 marked a distinct change in movie-making about Indians. The ultra-violent (by the standards of the day) Soldier Blue was rather quickly forgotten. The other, Little Big Man, continues to be discussed by critics, revisionist critics and re-revisionist critics to this day.

Filmed as they were in the midst of America’s longest single conflict, both films made allusions to Vietnam by means of fictionalizing two massacres of Indians, at Sand Creek in Colorado in 1864 and at the Washita River in Kansas in1868.

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In Soldier Blue, directed by Ralph Nelson, Candice Bergen plays Cresta, a one-time captive of the Cheyenne who, along Private Honus Gant (Peter Strauss), has survived the killing of an Army unit by Cheyenne intent on getting money for rifles. Bergen sympathizes with the Cheyenne.

Honus: 21 men [were killed]!

Cresta: A drop in the old bucket.

Honus: A what!?

Cresta: It’s not the army, Soldier Blue. They’re not the ones being killed off in this damn fool country.

Honus: Our country, Miss Lee, is neither damned nor foolish.

Cresta: Balls!

Honus: Miss Lee, you have a most profane way of speaking.

Cresta: You should hear me in Chyenne, you want to? Na…

Honus: No!

Cresta: Good brave lads, coming out here to kill themselves a real live Indian. Putting up their forts in a country they got no claim to. What do you expect the Indians to do: sit back on their butts while the Army takes over their land?

Honus: You saw for yourself what they did: taking off scalps.

Cresta: Yeah, and who told them that little trick? The white men.

Honus: And cutting off their hands and cutting off feet and cutting off … [shuts up]

Cresta: I know what they cut off, but at least they don’t make tobacco pouches out of them, that’s something else you soldier boys made up.

Honus: You’re lying.

Cresta: Did you ever see an Indian camp after the Army has been there, huh!? Did you ever see the women and what was done to them before they were killed? Ever see the little boys and girls stuck on the long knives, hrm!? Stuck and dying? Well, I have!

Honus: You’re lying.

Cresta [after a pause]: Go to sleep.

Honus: You’re lying.

She’s not, of course. What happens next is that Honus seeks to keep the Indians from getting the rifles from a sleazy trader (Donald Pleasance) while Cresta tries to persuade him that they need those guns for self-defense. Next thing you know, the Cheyenne have been attacked, and soldiers indiscriminately kill men, women and children. There’s a graphic rape scene, and bullets tearing flesh (something audiences had not yet been subjected to for the most part). In real life, many of the soldiers of the Third Colorado volunteers who attacked the Cheyenne-Arapaho encampment cut off breasts and scrota to be made into tobacco pouches and paraded back into Denver with Indians scalps hanging from their saddles.

To be sure, Soldier Blue is no great movie. Weak acting, a story with plot holes big enough to drive a conestoga through, and, again, no Indians in lead roles, although the Mexicans chosen for some parts no doubt could claim some native blood. Moreover, the wiping-out of soldiers that begins the movie was not the reason the Third Colorado was sent to Sand Creek. And, once again, the story is told from the point of view of whites, though of whites with different perspectives.  

Soldier Blue was, of course, overwhelmed by Arthur Penn’s tragic satire and social critique, Little Big Man. The young Dustin Hoffman gives a twangy, gravelly voice to the narration of 121-year-old Jack Crabb, a survivor of Indian and white massacres, Colonel Custer’s “Last Stand,” and a host of other “adventures.” For the first time in a blockbuster, an Indian – a real Indian – portrays a fully realized character. Dan George (Tsleil-Waututh [Salish]) plays Old Lodge Skins, the young Crabb’s adopted grandfather and mentor. Other Indians play major and minor roles, and considerable attention is paid to accuracy in costuming and, especially, some Cheyenne customs.

Margo Kasdan and Susan Tavernetti write in “Native Americans in a Revisionist Western: Little Big Man, 1970“:

The film criticizes America’s historical military aggression against Indians by graphically dramatizing an overwhelming military force employed against  a technologically primitive people. Viewers at the time may have connected the portrayed genocide of the Indians to America’s attack on the Vietnamese people.

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That military aggression is depicted in an almost elegiac manner, when, out of the morning mist, to the strains of “Garry Owen,” Custer’s 7th Cavalry comes riding into the village where Crabb lives a happy and lusty life with his wife and the Cheyenne. In a brutally realistic scene that he watches in the snow across the river, she is shot repeatedly as she tries to escape with their baby. It’s the fictional version of the real-life massacre on the Washita, where Black Kettle, the Cheyenne who had managed to survive Sand Creek four years earlier, is gunned down along with his wife and anywhere from 50 to 100 Indians, twice as many women and children and warriors, according to one on-the-scene officer who resigned his commission in protest.        

Much of Little Big Man is played for laughs, and at everybody’s expense, with Old Lodge Skins often making jokes about himself, as when he goes off to die, but doesn’t, finally opening his eyes to rise and offer another bit of his wisdom: “Sometimes the magic works; sometimes it doesn’t.”

While Little Big Man sharply criticizes white society, its turning of the tables is problematic in that it goes from the old depiction of Indians as “savage” savages to a new one (for film anyway), of the “noble” savage, in its own way as dehumanizing as its predecessor. The savage savage and noble savage motifs are not new to the age of movies, of course, but save that discussion for another time.

Furthermore,  some portrayals in the film are positively offensive. For instance, Little Horse (Robert Little Star) is a flouncing, lisping, stereotypical gay man who is supposed to represent the heemaneh, men among various Plains tribes who may have sexually ambiguous roles, but were respected for their spiritual contributions. In the film, however, Little Horse is played strictly for laughs and ridicule.

There are other problems. Kasdan and Tavernetti write:

“…the depiction of the Cheyenne women suggests a Sixties stereotype with a comic twist. They personify the “natural” women of the era who engaged in communal living and practiced sexual freedom. The film introduces Sunshine as a strong woman courageously giving birth in hiding while soldiers slaughter her people in a nearby encampment. Later Sunshine goes off alone like a wild creature to deliver her second child, when actually … Cheyenne women were always accompanied by their mother or another woman invited by the mother. Subsequently, Sunshine is portrayed as a coy child-wife, unhampered by puritanical constraints about monogamy and fidelity; she insists on sharing her husband with each of her three sisters who are, in turn, more than willing collaborators. A scene of communal lovemaking in the teepee mirrors the image of a hippie commune, and reflects the free-love, open-marriage ethos associated with the Sixties.

In other words, Little Big Man meets Easy Rider. The reality? Cheyenne culture maintained strict rules of chastity and rigidly defined courtship over several years.

And, of course, even though no Jack Crabb ever spoke to Custer like this, if you were an Indian sitting in the theatre when that movie first screened, you couldn’t help grinning at this inspired bit of dialog after Custer is warned about going into Medicine Tail Coulee near the river the Indians know as the Greasy Grass and that is known ever after as Little Big Horn:

Custer: What do you say, mule skinner. Should I go down there, or withdraw?

Crabb thinking I had him. But this time what I held in my hand wasn’t a knife, but the truth.

Custer: Well? What’s your answer, mule skinner?

Crabb: General… you go down there.

Custer: You’re saying, go into the coulee?

Crabb: Yes, sir.

Custer: There are no Indians there, I suppose?

Crabb: I didn’t say that. There are thousands

of Indians down there… and when they get done with you there won’t be nothing left but a greasy spot. This ain’t the Washita River, General, and them ain’t helpless women and children waiting for you. They’re Cheyenne brave, and Sioux. You go down there if you got the nerve.

Custer: Still trying to outsmart me, aren’t you, mule skinner?

The fourth and final movie in Part I is Michael Mann’s Last of the Mohicans, a lush production of the French and Indian War filmed in the Blue Ridge Mountains and taking its title from the James Fenimore Cooper novel. For once, we have real Indians playing major and minor roles, including Wes Studi (Cherokee) and American Indian Movement activist Russell Means (Lakota).

Countless people I know think this is a great movie. And, as romance, as epic, as storytelling, as an accurate depiction of costumes and weaponry, I don’t disagree. And since it’s from James Fenimore Cooper novel, who can complain that its leading male main character is Hawkeye, a white man (Daniel Day-Lewis) with more than a touch of frontier libertarianism and love for the Mohican way of life?

Except that the film is not Cooper’s novel, but rather the 1936 screenplay of the novel adapted for the 1992 remake. And it’s riddled with problems.

Uncas (Eric Schweig – Inuit) and Cora Munro (Madeleine Stowe) are the romantic duo in Cooper’s novel, and that romance he wrote about was between a Mohican and what was once called a mulatto in America, not between the white Native-Americanized Hawkeye and an all-white Cora. Of course, Cooper himself did not write Mohicans as a romance; indeed he downplayed the whole idea in his novels. Instead of Stowe, they should perhaps have cast Halle Berry or Thandie Newton.

Shortly after the film came out, Jeffrey Walker wrote Deconstructing an American Myth: Hollywood and The Last of the Mohicans

To focus on the love affair between American literature’s most strongly individualistic, anti-authoritarian, and anti-British mythic hero and Cora Munro is to miss the essential theme and flavor of Cooper’s classic tale. As James Franklin Beard informs us in his historical introduction to the SUNY edition of the novel, The Last of the Mohicans is not finally about such peripheral action as two lovers (particularly white ones), but about the “unremitting, frequently violent, always exasperating contest between the Native Americans and the intruders, white immigrants and settlers of every description” and its consequences: the destruction of the last vestiges of a race of Native-Americans.

Next week: The New Revisionism and Indians make movies about Indians.

12 thoughts on “Sidekicks and Savages (Part I)

  1. I can’t stand “Dances with Wolves” and I loved “Last of the Mohicans.”

    I loved “Little Big Man” also.

    I met Russell Means at a book signing he had here in San Francisco in 1997 for “Where White Men Fear to Tread.”  He wrote in my copy “We share ancestors.”

    I had the good fortune to be eating lunch at a diner in Provo, Utah in the 70′s at the same time as Chief Dan George.  I introduced myself and told him how much I enjoyed his performance in “Little Big Man.”

    I went to an awards ceremony in LA when “Smoke Signals” came out and shook hands with Wes Studi, Adam Beach, Evan Adams, Elaine Miles, Gary Farmer and Tantoo Cardinal. Good times.

    I consider Michael Horse a friend since I’ve seen him a million times on the rez and at pow wows and award ceremonies.  We are on hugging terms now.  lol.

    OK. Intermission from my star gazing.

    Thank you so much for your history recaps.  I still have so much to learn.  Thanks for the reading list.

    Your mention of the accurate Cheyenne dress in one of the films reminded me of my recent visit to the National Museum of the American Indian.  On display were all these beaded buckskin dresses.  I imagine that visitors were impressed with the beauty of the beadwork.  All I could see is that they were empty.  It was a sad sight for me.

    I want to do a diary on it but can’t find the time.  Here are my photos and Carter Camp’s remarks on the museum.  I was a charter supporter of the museum but now agree with Carter.  The Smithsonian is the ‘keeper of the loot.’

  2. I’m proud that the best writer on DKOS is a skin. Meteor Blades not only knows his stuff he writes well enough to make it interesting.

    We all have these same problems with hollywood being so full of shit. They asked AIM and others in Wash. D.C. in 1972? to preview “Soldier Blue” I didn’t bother to go becuse it was finished and what we thought wouldn’t change anything. I saw it later and got all pissed off, it was a bit too emotional for me. I laughed at “Little Big Man” and at the time thought it was the best by non-ndns. Last of the Mohicans’ seemed goofy to me, I couldn’t relate. “Dances with Wolves” I thought was really good for the western genre. It’s still a big hit on the rez everybody’s got a copy. But I guess knowing most of the actors had it’s attraction too. Plus they spoke good Lakota for once.

    I was the director assistant and tech advisor to the TNT movie “Lakota Woman” which was fun making because I got to employ a bunch of old AIMers who were at WK with me. I also hired Michael Horse and the others so I had a good time. Unfortunatly as a rookie I didn’t know the major work was done pre-production so the improvements I could have made in stuff like script and dialogue were too late. I even put myself in a scene and hired my sons as extras. Check it out on video and see if y’all can guess which I am. btw, the guy who plays me is my good friend Richard Whitman, the artist, who was also a WK vet. Also I gotta brag that my younger sister is the actress Casey Camp/Horinek who’s been in lots of movies plus is the main actress on the IMAX film at the big Pequot casino museum in Connecticut.

     If you guys haven’t read too much by me already I’m going to post a couple of reviews of “HBO’s “Bury My Heart at Wounded Knee” they showed last year. The first is by me and the second review is by Henay Giegomah an old Commanche friend and professor of film (I thinK) at UCLA. I think they go along with Meteor Blades thesis.

     

  3.    HBO’s Bury My Heart at Wounded Knee (review by Carter)

    Ah-ho My Relations,   It has been a long buildup to the showing of HBO’s “Bury My Heart at Wounded Knee”. We read about the good native cast that was being assembled and as the date drew near Indian people were emailing the starting dates and previews to each other. I remember telling my brothers that “I know this will be hard to watch”. I knew that because the book had touched my heart and I knew a movie would be even more emotional. I think everyone was prepared to see a modern, well researched movie that would be as truthful and hard hitting as the book. It seemed all right that they had narrowed the book down to the story of the 1890 massacre of the Lakota at Wounded Knee rather than try to tell the whole book’s many stories of the genocide of Indian people. It promised to be an Indian movie we could be proud of or at least a truthful one to counter some recent stinkers like Pocahontas and Apocalypto.   Of course that may have been wishful thinking on my part seeing as how the book galvanized a generation of Indian people to fight for the redress of the historical wrongs done to our people. The book touched a nerve with tribes across Indian Country and showed us graphically the commonality of our many struggles. The book proved that what was done to our people was a decades long, government inspired, well planned, process of genocide and a movie showing the same was eagerly looked forward to by Indians across the nation. The book was deeply researched and exceptionally careful in its scholarship, Dee Brown was one of the first historians to attempt to examine the native side of the conquest of America.    This movie began with scenes of a screaming bunch of be-feathered warriors charging down a hill and riding in a circle around and around a tightly gathered group of soldiers bravely making a “last stand” against the swarming horde. As anyone knows who has been to the actual Bighorn battlefield the soldiers death sites are scattered over many acres in a big fan shaped area from where it began. It shows that with few exceptions the soldiers were flushed like a covey of quail and died running to escape. As the camera slowly faded from the scene I said “uh-oh, I hope that wasn’t supposed to be Custer getting his arrow shirt”.  It was, damn it all to hell, the movie began with one of the oldest and tiredest of the old, tired Hollywood western stereotypes… suicidal Indian warriors, too dumb to plan battle tactics, letting themselves get picked off one by one by smart white soldiers who take cover while the Indians ride around and around. A sinking sensation began to come over me but I hoped against hope that this was perhaps a counterpoint that would be explained later. That hope was futile, the movie turned out to be full of those types of ignorant stereotypes and to make it worse it was also full of historical mistakes so egregious I doubt the perpetrators even read Dee Browns book! They had the Paiute preacher Wovoka in South Dakota teaching the Lakota how to Ghostdance and the protagonist Eastman devising the Dawes Act! They berated the Lakota for fighting other tribes as if their early displacement by the Ojibway was their fault. Every battle scene shows the Lakota doing their B-western thing and charging straight into superior whitemen shooting superior weapons. We see Lakotas getting blown every which way until they run off and then sue for peace from the superior white officer. I felt like I was back in my 1950′s youth, watching a cowboys and redskins flick!   Worse than some of their historical mistakes was the lack of important historical events like Chief Bigfoot’s desperate, 200 mile flight through the bitter, subzero cold under harassment by the 7th cavalry. These were the women and children that were to be slaughtered at Wounded Knee, after weeks of trudging and freezing they were almost to safety when the cavalry attacked and murdered them. How could they not portray such a major part of the story? Without Bigfoots attempt to save his people from the revenge minded 7th cavalry by leading them to Red Clouds agency seeking refuge, there would not have been a Wounded Knee massacre. They didn’t even make it clear it was Custer’s old outfit that committed the murders.  In this movie it made the massacre seem like a fair fight with Lakota shooting as much as the whites, not showing that our men had been disarmed and only a very few had been able to hide a weapon. It obscured the start and never mentioned, much less portrayed, how so many unarmed women and children were murdered one by one, execution style. It made it look like they were killed in the heat of battle instead of being hunted down like rabbits and shot pointblank by crazed and drunken American heroes. It wasn’t hard to watch, like the murder of innocent children should be, even though a lot blood was splattered. Oh it got graphic with today’s special effects how could it not, but the people didn’t seem real because in this movie Indians have no personalities. Except for Adam Beach in a couple of scenes, Indians were one dimensional and stoic (as always) even Sitting Bull (the main personality of the Indian side) was never given any but the barest of motivations for his lifelong resistance.   Which brings me to my biggest disappointment with the movie, no, I should say what pissed me off the most about this movie. They got everything Indian wrong! They sang Sundance songs at inappropriate times and danced the Ghost Dance before a tree. The small things that make us Tribal people were distorted to make our societies the mirror of theirs. Things like our familial relationships were completely ignored and the fact that we had a governmental structure at all seemed unknown to the scriptwriter and director. That’s racist. It’s as if we were so primitive we lived dog eat dog lives while dictator chiefs ruled us with an iron fist. There were no Clans, no Societies, no Woman’s voice, no respect in a society built on respect. There was no beauty.  Chiefs, the honored leaders of our societies who were chosen by the people because they openly lived their lives above reproach, were shown as venal, greed driven autocrats who held life and death powers over their people. Nothing could be more wrong. In one sickening scene they had Chief Sitting Bull tying up a boy and whipping him unmercifully in front of his wife and family for trying to leave camp! Worse again was the way, all of a sudden when the agent said there would be no Chiefs, all the Indians immediately obeyed him and shunned Chief Sitting Bull and gave him no more allegiance. Again no understanding of Indian society or a Chiefs role in our society. The historical record says the agent, who the movie shows as harshly dictating to an intimidated Chief Sitting Bull, was in reality deathly afraid of the Chief and generally kissed his ass while scheming behind his back. And the truth is the vast majority of Lakota people still revered and respected both Chief Sitting Bull and Chief Red Cloud.  All of us have seen the beautiful way our Chiefs and Headsmen dressed when they had formal meetings with the whiteman or sat in Council for the people. In this movie in scene after scene our most respected leaders were dressed like 1930′s depression era bums! Why the hell was that done? The completely untrue and totally undignified portrayal of Chief Red Cloud must have been done with deliberate malice. He was shown as an overweight, sad and broken old man without dignity nor the respect of his people. The truth is, a more proud, straight and tall example of Lakota pride and dignity cannot be found in all the pictures of that era. We can only ask why? Why the hell would you make a movie like this? Why would you ignore the very book the movie is named after and choose to make a movie from the ignorant 1950′s? Why?   I’m outraged that this movie was foisted upon us under the name of such a respected book. In a different more subtle way this movie is worse and more stereotypical than Mel Gibson’s stupidly violent Apocolypto. This movie disrespects those that died at Wounded Knee in the massacre of 1890, it disrespects those that survived, it disrespects the Lakota Nation and it disrespects Indian people, most of all it disrespects the book and its title. When will they ever learn?   Carter Camp, Ponca Nation

    Wounded Knee

    THE END OF THE HOLLYWOOD TRAIL

         In the wake of HBO’s disappointing and history-deranging adaptation of Bury My Heart At Wounded Knee, American Indian actors, writers, aspiring directors and producers arrive at the end of the trail for their decades-long struggle to gain a footing in Hollywood :  our cause is lost in the American film and television industry.

         It is now time for us to abandon our stake in the Hollywood camp, this distressed outpost, now time for us to gather on the open beach at Santa Monica and there bury in the sand our hopes for participation and inclusion, then head out of town  with our heads held a high as we can hold them.  We will be better off re-locating our work   back to the reservations, to the tribal communities and scattered remnants of land allotments that were given to us in  treaties with the United States government over a hundred years ago in the epic tragedy which Dee Brown described so vividly and thoroughly in his iconic history.  And there, hopefully safe from the misbegotten creative and economic forces of the industry, we must knuckle down and produce our own films, our own television dramas, write our own accounts of our history, and present them in images that we create and that we will control.    We have an audience of two million American Indians waiting.

         With Bury My Heart At Wounded Knee, the power brokers of the industry have demonstrated that their entertainment values and demands prevail over anything we say or do, write or create, that our history is for them to tell, to fictionalize, to distort with false love stories and character portrayals, and to trivialize all that is complex and tragic.  HBO did not ask for or seek the help and guidance of any of the experienced American Indian creative professionals who might have helped steer them away from this debacle.  Yes, Indian actors played the Indians, but that was all.

        With breathtaking arrogance, Bury My Heart’s narrative forcibly inducts American Indians into the brotherhood of savagery as a way of universalizing them and making them like all other people.

    Genocide is dramatized as just as much the result of the mean-spirited and physically cruel behavior of American Indians, who were fighting for their very survival, as it was of the inhumanity of the American armies.  The  last shreds of Indian nobility are eliminated once and for all.

       A feature article on the making of  Bury My Heart  titled “The Last Stand” in the May 27 Los Angeles Times gives a brief, perplexing account of how Hollywood came to the  view that American Indians can now be  justly and fairly seen as co-agents of their own destruction.  As a two-hour condensation of the book, “The film didn’t have time to dwell on the spiritual, Earth-friendly image of Native Americans,” says the article’s author, Graham Fuller.  ”Nor does it offer a politically correct perspective,” he adds.  The Sioux, we’re told, were “as rapacious as their white conquerers.”

        This view is scaldingly laid out with the portrayal of Sitting Bull  as a baby killer,  as a coward who hid in his tipi at the height of the Battle of Little Bighorn, and as a greedy buffoon who lusts for the white man’s money and approval.    

        The scriptwriter, Daniel Giat, confidently tells The Times,  ”My primary objective was to fully dimensionalize these people.  Sitting Bull was vain.  He was desperate to hold onto the esteem of his people and win the esteem of the whites.  But I think in depicting his desperation and the measures he took in acting on it, it makes it all the more sad and tragic, and I think we identify with him all the more for it.”

        To complete this grim, determined view, the film presents every Indian cliche imaginable in graphic, full-bodied images without context or explanation: brutal scalpings;  stoic, saddened faces of Indian elders; sick, dying babies; herds of wild horses surging across open prairies; vast armies of Indian warriors mounted along  high vistas; war ponies being ceremonially painted; desperate ghost dancers, and heartless Indian agents and schoolteachers. We’ve seen them all far too many times

    And  to all of this,  unbelievably, the article tells us,   “The passel of Lakota and other Indian consultants hired for the project obviously didn’t object too strenuously.”   No credible American Indian historians, scholars or film makers are quoted in The Times article.  I was astonished to see the names of two highly respected scholars and historians listed in the film’s credit crawl and was grateful that this embarrassment for them would not be seen by many.

       As students in the early 1970s, members of my generation of American Indians carried paperback copies of Bury My Heart in our backpacks  as talismans of hope.  Thirty-seven years later, we must sadly accept that HBO, the avatar of original television programming and creative innovation, has failed to deliver a truthful, even recognizable telling of Dee Brown’s history.  The more cynical among us back then forecast that this would happen, and, alas….

         By letting go of our Hollywood dreams, we  American Indians can take control of our stories and images and establish creative sovereignty.  Affordable digital cameras and production equipment and scripts written by the Indian writers whom Hollywood rejected and left blowing in the wind will help us to become free and independent tellers our our own stories.   The  failure of Bury My Heart At Wounded Knee urgently tells us that we must, must do this.  Aho, thank you.

    Hanay Geiogamah

    Professor of Theater, UCLA School of Theater, Film and Television

    Director, UCLA American Indian Studies Center

    Hanay Geiogamah

    323/463-1914

    hgeiog@ucla.edu

    ———

    Note:  Hanay is of the Kiowa/Delaware people  

  4. I wanted to see it when it first came out but didn’t because I knew I wouldn’t be able to handle it.

    As you know my mother was taken like this when she was 5 or 6 years old.

    I watched it alone and I’m so glad I did because I openly sobbed thru most of it.  What an amazing story and so well acted by non actors.

    My morbid imagination wondered what my mother would do if she saw the film.  I’d like to video tape her reaction and then interview her afterwards.  I’ve heard her story a million times but it would be nice to document it. Unfortunately she lives far away for me to do this easily.

    I recommend that one should watch the special features section on how the film was cast and shot. The abduction scene is amazing from that perspective.

    Thanks MB for film recommendation.

    I have Soldier Blue on order thru Netflix and I’ve purchased a copy of Carter Camp’s film Lakota Woman.

  5. …of Bury My Heart at Wounded Knee. I wanted to punch out the director and producer and screenwriter of that HBO production. Poor Dee Brown. Glad he didn’t get to see what they did to his efforts.

  6. I bet he covers this also and I believe he promised “Smoke Signals” also.  It will be another good read.

    Thanks for posting your review here along with Prof. Geiogamah’s.    Truly important perspectives now documented here.

  7. …and I see we agree completely.

    Have you posted this as a Daily Kos Diary? I think, if you could find the appropriate time, say when HBO starts running it again, as they surely will soon, since they do that to all their stuff, you should post it. So many people I know thought it was great, though none of them are ‘skins or have read the book.

  8. and jean jacket that walks along with the guy that played Crowdog when they were having an AIM meeting. My other scenes were cut. My sister is the medicine woman Elsie Flood, she’s riding the horse in the first scene. My son Vic is the driver of the car that wrecks on the tracks. Plus all the extras were friends of mine so we had a very good time making it.

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