SXSW Review: Reel Injun01: 03 15/03/2010, Peter Martin, Adam Beach, adambeach, by Jim Jarmusch, jimjarmusch, Native Americans, Native peoples, nativea

SXSW Review: Reel Injun01: 03 15/03/2010, Peter Martin, Adam Beach, adambeach, by Jim Jarmusch, jimjarmusch, Native Americans, Native peoples, nativeamericans, nativepeoples, Neil Diamond, neildiamond, north of the Native Americans , northamericannatives, the Indian drums, reelinjun, sxsw10, sxsw2010, Cinematical


Much more than just a collection of clips, Reel Injun proves to be a semi-personal lighting test. Neil Diamond The filmmaker travels across North America as a backdrop for his exploration of the legacy of Hollywood in the representation of indigenous people in the big screen. Tip: You are seriously deficient.

Indian Reel includes interviews with Clint Eastwood, Jim Jarmusch and directors Chris Eyre, actor Adam Beach, and comedian Charlie Hill, along with the versatile and influential Russell Means and John Trudell. Sacheen Littlefeather recounts his life that led to the memorable night when she refused the Oscar for Marlon Brando, media and Trudell remember what he meant, which came amid the acquisition of Wounded Knee, South Dakota.

But Diamond begins with films that are large and well-known targets. They Died with Their Boots On (1941) and Stagecoach (1939) reduces the cartoon offensive to American Indians as bloodthirsty savages, "injuns" who were blocking the progress of the "real" Americans, ie white people. Then, the film puts things in context with a brief account of the injustices to all natives of North America and the letters of the ups and (mostly) low big-screen incarnations.

Early American cinema was actually very favorable to the Indians. In the sound era began, however, films with positive portrayals did not do well at the box office. And then, as now, Hollywood was looking for new villains.
Filed under: Documentary, Independent, SXSW, Theatrical Reviews, Cinematical Indie

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