TRIUMPHS OF A MAN CALLED HORSE

US, 1983, 85 minutes, Colour.
Richard Harris, Michael Beck.
Directed by John Hough.

Triumphs of a Man Called Horse is the third in a series which began vividly with Richard Harris as the English nobleman caught by the Indians, tortured by them but becoming one of them and leading them to victory. It was, with Little Big Man, one of the key films of the early '70s highlight ing the rights of the Indians. These films echoed Broken Arrow and other pro Indian films of the '50s. The sequel, directed by Irwin Kirshner, was well received: The Return of a Man Called Horse. The present film is short in running time and has some flashbacks to the original film, especially the torture sequence.

Richard Harris appears in his original role but dies after the first half hour. The film is really The Son of a Man Called Horse, and he is played effectively by Michael Beck (The Warriors, Battle Truck, Megaforce, Xanadu). This story is fairly straightforward. It shows the Indians and their way of life in a very favourable light and contrasts the greed of the white gold-seekers in the Dakota Hills. The action, especially in comparison with the earlier films and such films as Soldier Blue, is comparatively visually restrained.

Nothing new - but quite effectively done. Unusual as very few westerns were made in the early '80s.

1. The entertainment value of westerns? The long cinema tradition? The place of the Indians in the tradition? The change in the '50s and the pro-Indian films? The early '70s and A Man Called Horse? The lack of interest in westerns in the '80s? This film as an action western, message western? Its impact?

2. The place of the Man Called Horse trilogy in the western tradition? The echoes of the late '60s and early '70s, the mid '70s? The early '80s? The films as vehicles for Richard Harris? His making way for Michael Beck in this film? The value of the portrait of the Indian way of life from the point of view of the Indians? The contrast with white 'civilisation'? The spirit of the opening of the first film in the present film, the reliance on flashbacks, establishing the character, his experience with the Indians, his love for his Indian bride, his torture and initiation as an Indian? His spirit hovering over the film?

3. The conventions of the western: portrayal of the Indians, audience knowledge of their history, persecution? The history of the gold rushes? The clash between Indians and whites? The intervention of the military? The political background of the treaties and conventions and their being broken? The Indian way of life, massacres, heroism? The Son of? Action sequences, suffering, love, peace? The film's relying on conventions for its communication?

4. The film's supporting the Indian cause? The popular images of the Indians in more recent films? Audience knowledge of their history? Their being the villains in so many traditional westerns? The presentation of white 19th. century arrogance? The original films and the presentation of Indian dignity, culture? The villainy of the whites? The violence? The manoeuvres? The disregard of laws and treaties? Indian survival? Compensation? The highlighting of the themes in the prologue and epilogue?

5. The film's emphasis on non-violence? White violence and oppression, provocation, atrocities, massacres? The staging of crimes to blame the Indians? The temptation for the Indians to violence? The influence of the Chief and his heritage? Coda and his tactics: the explosives, driving out the miners? The stances taken to kill in self-defence?

6. The background of A Man Called Horse: the prologue, Richard Harris' presence, his portentous style, memories and flashbacks? Strength, endurance, suffering? Having the right to lead? With the military? His viewing the massacre? Talks? His love for his wife? Son? His dying in his son's dream, and the reality? The ritual of his burial? His non-violent heritage? The symbol of the horse, and its use? The end? His presence throughout the film?

7. Coda as the Son of A Man Called Horse? The encounter at the well? The deaths of those holding the well? Saving the Winslows ? Winslow's later betrayal. his death. the death of his wife and daughter? The reaction of the Sioux confronting the Crows? Traditional enmity? The fight and Red Wing confronting Coda? Elk Woman and her healing? Coda's reuniting with his father? Learning from him? The dream of his death? The arrest and his escape? The raids with Red Wing? His capture and torture? The final confrontation? His achievement? The contrast with his tenderness ? with Red Wing e.g. the eating and the fishing, the love? A son worthy of his father?

8. The presentation of the Sioux nation: the group, individuals, suffering, the end of their strength? The raids? The frightening of the miners with the non?violent and funny raid? The reaction of the whites? Elk Woman and the Christian influence? Her saying 'Halleluia'? Her support of Coda and participation in the raid?

9. The Crows and the conflict with the Sioux, the scouts, Red Wing, the hostilities, the healing, the sharing and the rescuing?

10. The presentation of the military: attitudes, justice, being fair to all? The irritation with the miners? Their appeals? The reaction to the white villains?

11. The miners and their hopes, hostilities? The humour of their being ousted by the raid?

12. Perkins and his aides? Perkins and his appearing as a man of God, his mission? His cover? The irony of his killing A Man Called Horse? Durand and the murders. the atrocities? Their deaths?

13. The film and its predecessors as pieces of Americana? The critique of the treatment of the Indians? Reflecting the modern attitudes towards the Indian?