There is a continually growing, vibrant presence of Indigenous independent films that are often made by and star Indigenous people telling their own stories, and these stories are receiving critical acclaim. Native people across the world are participating in this movement that raises the voices and visibility of Indigenous people.
Our theme week for October 2016 will be Representations of Indigenous Women.
There are relatively few mainstream representations of Indigenous people and even fewer representations of Indigenous women. Throughout the history of film, non-Native women have been playing the roles of Indigenous women; a prime example is Peter Pan‘s Tiger Lily who is effectively whitewashed in her various incarnations. When Indigenous women do appear on-screen, they are often stereotyped, exoticized (Pocahontas), and brutalized (The Revenant). Indigenous women have little agency in these stories that objectify and violate them because these are the stories told by non-Native men who use these women as a plot device or a symbol.
However, there is a continually growing, vibrant presence of Indigenous independent films that are often made by and star Indigenous people telling their own stories, and these stories are receiving critical acclaim (Smoke Signals, Ixcanul). Native people across the world are participating in this movement that raises the voices and visibility of Indigenous people (The Cherokee Word for Water: an American Cherokee film, Once Were Warriors: a New Zealand Māori film, Atanarjuat: The Fast Runner: a Canadian Inuit film, Samson and Delilah: an Australian Aboriginal film, and Ixacanul: a Guatemalan Kaqchikel Mayan film). Much of the movement of Indigenous storytelling focuses on male protagonists, so there is still a great need for the stories of Indigenous women.
We desperately need more Indigenous people on-screen and behind the camera, especially in mainstream Hollywood films, which is why it’s exciting that the upcoming 2016 Disney animated film Moana will feature the first Polynesian princess, voiced by Auli’i Cravalho, a Native Hawaiian girl.
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After the film’s opening fire aftermath scene, viewers are introduced more thoroughly to Arnold Joseph, who cut his hair in mourning after the fire and eventually disappeared, and to Thomas and Victor as young men: “Me and Victor? We were children born of flame and ash,” Thomas narrates. Scenes of reservation life also unfold with a quiet humor, punctuated by music: parallel scenes of Victor eating frybread with his mother, Arlene (Tantoo Cardinal, Metis), and Thomas eating dinner with his grandmother (Monique Mojica, Kuna and Rappahannock); flashback scenes of Victor and Thomas as kids and of Victor with Arnold before he disappeared; the ubiquitous rez traffic and weather reporter, Lester Falls Apart; and two women driving a car in reverse down a paved rez road.
Known as the first full-length feature film to be almost entirely written, directed, co-produced, and acted by Native Americans, Smoke Signals(1998) is a quintessential road movie that attempts to investigate the complex nature of Indigenous relationships, cultures, and contemporary realities, especially the relationship between Native American fathers and sons. On its surface, this is a story about Victor Joseph (Adam Beach, Saulteaux) a young Native man from the Coeur d’Alene Indian Reservation in Idaho who has hated his father almost all his life and is trying to forgive him. When Victor finds out early in the film that his father, Arnold, has died, he and his childhood friend, Thomas Builds-the-Fire (Evan Adams, Sliammon First Nation) embark on a journey to collect his father’s ashes. As the journey progresses, the two young men grapple with the limitations of forgiveness, even as Victor begins to heal.
At the opening of the film, Thomas (Adams) narrates over the image of a burning house: “On the 4th of July, 1976, my mother and father celebrated white people’s independence by holding the largest house party in C’oeur d’Alene tribal history. I mean every Indian in the world was there. And then at three in the mornin’, after everyone had passed out or fallen asleep on couches, on chairs, on beds, on the floor, a fire rose up like General George Armstrong Custer and swallowed up my mother and father. I don’t remember that fire, I only have the stories. And in every one of those stories, I could fly.” This last statement is said over the image of a wrapped baby being thrown out of a second story window.
As the drums and chanting rise in the background, the camera shifts to a long-haired man running and diving to catch the falling baby. Thomas’ narration continues as we see the man gaze down at the infant: “I was just a baby when Arnold Joseph saved me from that fire and delivered me into the hands of my grandmother.”
The morning after the fire. From left: Monique Mojica, Gary Farmer, Tantoo Cardinal
In the morning, the families are gathered around the pile of ash that used to be Thomas’ house and parents and his grandmother says to Arnold, Victor’s father, “You saved my grandson’s life. . .you did a good thing.” Arnold (Gary Farmer, Cayuga) responds with tears in his eyes, “I didn’t mean to.”
This moment of tension and the sad levity brought on by Arnold’s admission that he didn’t mean to do good sets the tone for the entire film. Humor is always dancing around the edges of anger, sadness, and despair in Smoke Signals, directed by Chris Eyre (Cheyenne/Arapaho). Ten years after the release of the film, Eyre sat down for an interview with David Hofstede for Cowboys and Indians magazine. Hofstede notes that this is still his best known film. Eyre responds:
“I don’t know if that’s a good thing or a bad thing,” he says, with a mix of pride and resignation. “On the good side it’s a wonderful story about forgiveness, and I think in 20 years it will hold up. I’ve made several more movies since then, and I think I’ve done some better work, but Smoke Signals is still the one everyone remembers best. I wonder if I’ll be known better for a movie after that, but either way, I’m fine.”
Director Chris Eyre
As the winner of several major films awards including a Filmmaker’s Award and Audience Award at the 1998 Sundance Film Festival and winner of the Best Debut Performance from the Independent Spirit Awards, Smoke Signals has become a well-recognized, almost canonical, Native American film. It is most likely the film you have seen if you have seen a Native American film featuring the perspective, storytelling, and humor of contemporary Native peoples.
After the film’s opening fire aftermath scene, viewers are introduced more thoroughly to Arnold Joseph, who cut his hair in mourning after the fire and eventually disappeared, and to Thomas and Victor as young men: “Me and Victor? We were children born of flame and ash,” Thomas narrates. Scenes of reservation life also unfold with a quiet humor, punctuated by music: parallel scenes of Victor eating frybread with his mother, Arlene (Tantoo Cardinal, Metis), and Thomas eating dinner with his grandmother (Monique Mojica, Kuna and Rappahannock); flashback scenes of Victor and Thomas as kids and of Victor with Arnold before he disappeared; the ubiquitous rez traffic and weather reporter, Lester Falls Apart; and two women driving a car in reverse down a paved rez road.
On the bus to Arizona, Victor admonishes Thomas for being too nice and gullible, saying, “Just remember Thomas, you can’t trust anybody.” Victor’s hard edges are softened over the course of the film by Thomas’ stories, which are primarily about Arnold. Unfortunately, Thomas’ stories mostly irritate and upset Victor, bringing on hurtful memories from childhood such as the morning that Victor witnessed Arnold hit Arlene and leave. But in the end, it is Thomas’ stories and Victor’s acceptance of his father’s shortcomings that opens the space for forgiveness and healing.
Ralph Armbruster-Sandoval writes about fatherhood and forgiveness in his Spring 2008 Wicazo-sa Review article, “Teaching Smoke Signals: Fatherhood, Forgiveness, and ‘Freedom’”: “Forgiveness is not a magical panacea and those who forgive are not morally or ethically superior to those who do not. Forgiveness can potentially transform or free people from anger, hate, and rage, however. . .Victor exemplifies this process” (125).
Victor (Adam Beach) and Thomas (Evan Adams)
The moment Victor finds out from Suzy Song (Irene Bedard, Inupiat/Inuit/Metis) why that fire started all those years ago, the one that Arnold saved Thomas from, is the moment his hate begins to wither. Facts muddle memories for him and he begins to see his father in a new and more complicated light. Learning the truth eventually frees Victor from his unending grudge toward his father and his irritation with Thomas.
If you have seen this film before, consider watching it again with new eyes. It has aged well and remains relevant as a story and as an insightful piece about contemporary Native Americans. Smoke Signals is a particularly useful film to incorporate into any class where Native peoples and cultures are being discussed – students respond well to the humor and the central theme of forgiveness. The film is available for streaming on Netflix and Amazon.com.
Thomas recites Dick Lourie’s poem, “Forgiving Our Fathers,” at the end of the film and those words seem appropriate to end this review:
“How do we forgive our fathers?
Maybe in a dream
Do we forgive our fathers for leaving us too often or
forever when we were little?
. . .
Do we forgive our fathers in our age or in theirs or in their
deaths, saying it to them, or not saying it?
If we forgive our fathers, what else is left?”
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Dr. Amanda Morris is an Assistant Professor of Multiethnic Rhetorics at Kutztown University of Pennsylvania with a specialty in Indigenous Rhetorics.
