A Man Called Horse (1970)
A few months ago I was reading a book at work about the depiction of Native Americans in the western genre. There was a chapter that discussed a revisionist western where an Englishman’s captured and assimilated into their culture over the course of the film. Observing how this was dealt with in comparison to others in the past which were treated more as rescue stories, returning the captured white man back to civilised society. Whilst also considering the damage that their time with a native tribe will do to the individual, will they be scarred and damaged as we found this horrifying in The Searchers (1956), or should they be abandoned or shot in Two Rode Together (1961), these are just two examples of a discussion that was going on in the 19th century. The effect of one primitive culture on a more advanced one (as we are lead to believe). Anyway back to this chapter in Invisible Natives which discussed how a native tribe had a more positive effect on John Morgan (Richard Harris) in A Man Called Horse (1970) whose hunting teams ambushed at the beginning, hes dragged away like an animal to the camp.
Our perception of a Native is first reinforced by the classic genre which is already being twisted around. This is not a satire like Little Big Man (1970) when Jack Crabb (Dustin Hoffman) who is captured and adopted as one of their own, able to come back and forth. This is more about changing our view of a section of people from the inside out, not mocking the other, the white American. Or in this case the white Englishman who travelled the America to hunt new game. With no intention of being captured, living amongst the Sioux nation for at least a year, during a time when the westward expansion was not as big a threat as it would be by the end of the century when they were fighting for the freedom before being penned into a reservation far from their own lands. A Man Called Horse explores the possibility of that what if a white man was to enter into this world, away from his aristocratic trapping to live amongst “savages” to learn how to survive before a possible escape.
Much like Man in the Wilderness (1971) there is very little dialogue, well dialogue we can understand when we are with the Sioux which is pretty much all the time. The difference with Wilderness and Horse is we have a larger white cast in the more audience friendly Wilderness film which was set even earlier in time. There is more of an offbeat tone, as it sees a man left behind (once again Harris) who is left to die, learning to survive much like the Natives he lives in fear of for a time, learning to respect them by the films end. Coming back to Horse there is more of an open view to the other that takes in one of our own who becomes an other over the course of the film.
It’s a slow transformation that begins as an embarrassment, fighting the enemy to escape, giving into survive, to understand to make plans. That’s before life happens for Morgan who meets another captive Batise (Jean Gascon), a Frenchman who has been among them for 5 years. For Morgan he now has two enemies, one national rivalry back home, who he can talk to, the only one who understands him at first. They form an uneasy relationship, facing as allies and form of communication. They both want to leave but when and how, they have a plan which is later scuppered by unfolding events.
The depiction of the Sioux is more impartial, more honest, we get all the feather head-dresses but only when necessary, part of their visual language which the audience understands. It’s so much more through a number of montages and not having the broken English we get in most westerns. Even Dame Judith Anderson doesn’t utter a word of English, having taken the time to learn her lines in the native language. There is a levee lot respect to the culture you rarely get today. You could say that this was Dances with Wolves (1990) which has its problems with the depiction of the enemy to appear more menacing for effect.
We only see two other white men, who are both killed in the ambush, the only enemy are warring tribes, the impending danger of the white man is far away for now. This allows us to focus on the Sioux and nothing else, their culture, we have to really focus to understand what is going on and to be fair that’s not hard as they have the same problems as the civilised society. The threat of danger, respecting the dead, the pecking order of the men and love which comes out of nowhere for Morgan who was planning to get out. Allowing himself to be subjected to the Vow, which is one of the most playful things I have seen on film for an audience to stomach in main-stream film. Even in the seventies, I was struggling to figure out how this painful feat was re-enacted. A ritual that the film even states was outlawed in the 1880’s, brought back to life for this film.
I am left wanting more now, knowing there was a sequel The Return of a Man Called Horse (1976), the fact that Morgan wanted to leave now becomes an important member of their society, leads them to safer ground. We are left guessing as to where he went, did he stay with them, or does he leave. Well I know where he begins in the sequel which doesn’t help, aghhhh I just want to find out how his journey ends, how he’s been changed by his experiences, away from civilised society. Even Morgan agrees men all want the same, can’t get better than that for a message from a film that focuses on the natural enemy of the westerner.
- A Man Called Horse, Elliot Silverstein, 1970 (www.nativeamerican.co.uk)
- A Man Called Horse (1970) & The Return of a Man Called Horse (1976) (every70smovie.blogspot.co.uk)
- A Man Called Horse (eriklerouge.blogspot.co.uk)
- A Man Called Horse (jeffarnoldblog.blogspot.co.uk)