It’s awards season and I’ve started early this year, not that I think that Hostiles (2017) is gunning for any awards, just the timing of the release in cinema’s. Nonetheless it’s a Western which means only one thing, I’m there. Booking the tickets even with a few warm reviews I decided I had to see this for myself. Based on the manuscripts of Donald E Stewart about an army captain who reluctantly takes on a mission that changes his politics. Now this is how Soldier Blue (1970) could have gone, but decided to be more literal. I also found a few links to The Searchers (1956) which I’m always looking to explore through other films.
After years of internal wars between the White settlers, who had been shaking up and re-organising the country into a shape that more resembled their own destiny, we forget about the soldiers and people who were caught up in the Indian Wars that have left the Native Americans greatly diminished and broken. Hostiles attempts to address some of those issues in this Revisionist Western. Beginning by reverting to classic form – a Comanche raid on a family who are massacred, it’s straight to the point, gruesome and sets the tone for what is to come. Leaving wife and mother Rosalie Quaid (Rosamund Pike) alone to bury her family, potentially altering her outlook on life too. She could have easily allowed racist tendencies to creep in and understandably too. It’s too later for Captain Joseph Blocker (Christian Bale) who is an embittered racist who has seen more than his fair share of bloodshed whilst in uniform. Easily seen as an extension of Ethan Edwards if he stayed in uniform. Yet his racism comes from another place, that is never really explored, leaving us to question how did he becomes this monster who could hate Native American’s that boils over when he discovers his family massacred, raped and captured also by Comanche’s. Blocker is given one last mission under threat of court-martial for refusing, to escort a now elderly Cheyenne chief Yellow Hawk (Wes Studi) and his family back to their home land of Montana. Part of me thinks this is a test set by his commanding officer Col. Abraham Briggs (Stephen Lang) wants to see him suffer, to test his politics before the decorated officer retires. A big “Screw you” you could say.
The last time I saw Studi was as another historic Native American Geronimo in the 1993 film, here much older he gets slightly less screen time than his white colleagues who dominate. Showing there is still away go before they are given a fair representation in the genre. However they were portrayed with compassion unlike the Comanche who’re reduced to an obstacle to overcome – somethings never change. I’m not too surprised either, it’s a long ingrained part of the genre that is hard to shake. To achieve that they will have to be a Native American in the directors chair, with an un-compromised voice. That said The Cheyenne’s that are depicted with sensitivity, we can see they’re spirit has been broken but theirs hearts haven’t, which is the extent of the Cheyenne’s suffering is really explored.
The focus as always comes from the white man- Blocker whose our Ethan Edwards filled with racial intolerance for the Cheyenne that he has to escort across the open country. It’s his journey that we follow which has an interesting effect on him. Much like Edwards, he knows his foe very well, having learned to speak Cheyenne, he knows the enemy intimately, maybe too well. With the pomp of leaving his fort one last time he has his foe chained up, there’s no trust for the elderly warrior who puts up with this indignity. He wont rise to the bait, a decent man knows when he’s been defeated. This last throughout the discovering of the burnt out homestead where we find grief stricken Rosalie Quaid, everyone in the party can understand her pain. Pike delivers a heartfelt performance, you can really feel her pain, I wondered if she would cross into racial hate, making Yellow Hawks journey home even harder. Would her grief match the hate that of Blocker’s? Playing a vital part in Blocker’s transformation by the films close.
We start out of the fort with a small Master Sgt. Thomas Metz (Rory Cochrane) stricken with depression, Corp. Henry Woodsen (Jonathan Majors) who has been proud to serve with Blocker Lt. Rudy Kidder (Jesse Plemons) fresh out of West point ready to prove his superiors he’s worth his rank and French recruit Pvt. Philippe DeJardin (Timothée Chalamet) who has no real experience in the army. The small group meet resistance early on in the form of the Comanche who are the first of many obstacles on their long journey that has an effect on the number of men in uniform. Taking on Rosalie Quaid, could easily be seen as a burden to them. It’s the aftermath of these events that start to open up Blocker’s view of the world, starting to question his thinking. Finally confronted when he takes on army prisoner Corp. Tommy Thomas (not a very original name) (Paul Anderson) under the care of Sgt. Paul Malloy (Ryan Bingham).
Thomas is the equal of Blocker, yet he has used his racial hatred to kill a Native family whilst not under orders. Purely for them being there. A cold-blooded killer who shows no remorse for his crime, would Blocker have done the same out of uniform or has his uniform given him licence to kill and get away with it. The security position and rank have been enough, to go as far as Thomas would be a point of no return for the captain, or is this the next part of his life outside of the protection of the uniform. The Indian Wars and Frontier nearly closed he would be a monster in civilised society, an Ethan Edwards in fine clothes.
There’s a lot of ground covered both literally (and spectacularly on camera) and thematically, from racism to man first killing to forgiveness. It goes along way to get us to Montana and it’s not an easy ride with a lot to think about. Filmed over the last year it can now be easily seen as a response to America today, as it becomes increasingly alone in its world view. The development of a wall on the Southern border with Mexico. The political divide is stronger than ever with a President who you either trust implicitly or question his every tweet. Blocker is leaving one life behind for another, does he want to bring his past life to his future. Hostiles attempts to deal with a very contentious issue and does a good job – on the white man’s side. Whilst the Native American has to just accept his place in the film and history on the chin. I wish the Cheyenne had more time to talk, to explore their position, instead they are just lead and protected by the army that’s trying now to do right by them. It reminded me lastly of Cheyenne Autumn (1964), the depiction of the Southern Cheyenne joining those in the North, which is more apologetic than Hostiles that draws it out of the characters slowly, not so much the director. I can only conclude that Revisionist Westerns will only be apologising with white actors in the lead role rather than the Native’s who depiction and capacity in the film is still being determined through the winners history.