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Additional info for Hollywood's Indian: The Portrayal of the Native American in Film

Sample text

The Vanishing American and Broken Arrow present a "noble savage" stereotype, while Drums along the Mohawk deals with the era of the American Revolution, and its production was fraught with worries about how to portray the British as an enemy. Interesting similarities exist in the ways that The Vanishing American, Massacre, and Tell Them Willie Boy Is Here address the pressures of reservation life, even though the contemporary styles of filmmaking (in the silent era, the early sound era, and the era of the independent producer, respectively) differ considerably.

For example, sets could be put together inexpenSively and extras found on The White Man's Indian / 35 the reservation for far less than union scale. The unavailability of most studio financial records makes it impossible to speak with any precision about the actual costs or profits. It is clear, however, that major productions shot on location with large casts of well-known actors become costly. Cost overruns for location shooting on Cheyenne Autumn (1964) necessitated the elimination of many scenes, and they may have contributed to the film's artistic and commercial failure.

This conclusion would be less likely if, as in the film, Indians and American Tories were the enemy portrayed and no British officers were shown. Most recently, political influence found its way into movies of the late 1960s and early 1970s in the form of Indian allegOries of the American experience in Southeast Asia. The Indian movies made then, such as Little Big Man and Soldier Blue (both 1970), films that indicted the American Army for practicing genocide on the Native American, were partly the expressions of the producers' and directors' feelings about Vietnam.

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