“How Do We Forgive Our Fathers?”: Looking Back On ‘Smoke Signals’
If there is a common thread that runs through these past few retrospectives, it’s that one of the best forms of representation of an underrepresented group is to portray people simply as the complex human beings they are. No matter the color of skin or the background, all these films have people going through universal experiences that are made unique by the choices of filmmakers and writers, resulting in films that defy the dominant stereotypes in Hollywood. Smoke Signals is no different in this regard and is a lot of fun too.
Smoke Signals is a coming-of-age dramedy film that was directed by Chris Eyre with a screenplay by Sherman Alexie, who wrote the book upon which the film is based, The Lone Ranger and Tonto Fistfight in Heaven. The film follows hot-tempered basketball player Victor Joseph, played by Adam Beach, and storyteller Thomas Builds-the-Fire as the pair go on a journey to retrieve the ashes of Victor’s father Arnold, played by Gary Farmer. The pair confront their differing perspectives on Arnold, as Thomas views him as a hero for saving him from a fire, whilst Victor feels bitterness for his father’s abuse and alcoholism. Their perspectives are challenged by one another, and they must ultimately come to terms with their own cultural identity.
The film was released on Friday, June 26, 1998, and did get its share of critical acclaim, currently holding a 90% on Rotten Tomatoes based on 93 reviews. The film was made on a budget of $2 million and made around $6.7 million. Although certainly not a smash hit, the film’s reputation has grown significantly over time. Smoke Signals has received the honor of being selected by the Library of Congress for preservation in the United States Film Registry in 2018, thus making it a film that is culturally, historically, and/or aesthetically significant. That would usually be enough for this retrospective, but there is no harm in asking why and viewing the film through a modern lens.
Becoming a part of film history
The first place to look at when it comes to Smoke Signals’ historical significance is the cast and crew. It is widely recognized as being the first feature-length film to be written, directed, and produced by Native Americans with the purpose of reaching a broad audience both in the US and the wider world. This already gives the film a strong sense of authenticity. At no point does any sentiment, message, or perspective feel poorly realized. There is a clear care behind the camera by the writer and director to capture a genuine experience of Native American life. The cast further lends to this idea, with excellent performances from everyone. The two main leads have great chemistry with one another, and the characters are so distinct and unique. They are clearly foils, with Victor’s stoic and traditional views contrasted with Thomas’s nerdiness and love of storytelling.
Beyond being three-dimensional characters, Victor and Thomas also act as a means to explore the identity of Native Americans, as well as tackling the perceived stereotypes. A key scene is where Victor teaches Thomas how to be a real Indian, insisting on a stoic attitude and appearing intimidating and strong. This is certainly a pertinent stereotype of Native groups where, especially the men, are defined by a strong, noble, and intimidating masculinity to contrast the meekness of a presumably White protagonist. The 1990 film Dances with Wolves is brought up as a culturally significant portrayal of Native Americans, one that has greatly influenced Thomas’s view on the world and paints him as an individual who embraces both the historical culture of his people as well as contemporary Western culture. The contrast between the two characters works remarkably well, where Victor grapples with his identity while Thomas is comfortable with who he is.
The filmmaking on display is also excellent. The story is presented through two main POVs, the present and the past, a clear grappling with history and how that shapes one’s identity. Throughout the film, Victor flashes back to memories of his father, showing his abuse, his alcoholism, and his humanity. There are some truly seamless edits and transitions from past to present, showing how Victor’s history is in constant dialogue with his present and exploring how the past informs the present, but that the past does not necessarily define who someone is. There are certainly instances where the film falls short, specifically when it comes to Victor’s forgiveness of his father, which does feel somewhat rushed. The plot itself is nothing ground-breaking, and it deals with some universal themes, but how the characters experience these moments is what is both intimately familiar and wholly unique.
Resonating Universally
Native people, especially in Hollywood, have too often been portrayed as a people in need of saving. The Western ideas of tribal folk who use rudimentary equipment, who are in harmony with nature, who are viewed as savages by a film’s antagonists, and whose simplicity is viewed as beautiful by the protagonists have been perpetuated by big films such as Kevin Costner’s Dances with Wolves, Disney’s Pocahontas, and James Cameron’s Avatar. While the quality and impact of these films cannot be denied, they nonetheless contribute to the general audience’s image of Native Americans that fails to explore them as genuine people with complex lives.
Where Smoke Signals succeeds is in showcasing Native Americans grappling with their identity, culture, and personal growth in a contemporary United States. Thomas and Victor forge their own identities with respect to the world around them and their own personal history. In reconciling his relationship with his father, Victor becomes more assured of who he is, helped along by Thomas, who, while certainly nerdy and meek, does not hesitate to call Victor out on his hypocrisy and failure to make something of himself. The two are refreshingly human, going through a truly human experience together. The film also has a knack for strong comedy, derived almost entirely from Victor and Thomas’s interactions. Chris Eyre utilizes the comedy to great effect, endearing the audience to the characters, allowing their dramatic struggles to tug at heartstrings. Furthermore, the comedy often takes stabs at the stereotypes that surround Native Americans. Victor’s insistence that Thomas should look strong and intimidating falls completely flat when it comes to actually intimidating two people on a bus, showcasing how these stereotypes do not hold up in the real world. It also goes a step further, pushing the idea that projecting a strong shield of masculinity to not only intimidate but to hide one’s personal feelings is a folly.
What truly makes this film resonate is its exploration of grief, history, and identity. The characters’ experiences, feelings, and emotional turmoil are all near-universal experiences. Grief and forgiveness go hand-in-hand here, leading to an emotionally resonant tale that is bound to move anyone who watches it. It is Victor’s complexities as a person that allow the audience to identify with his struggle. There is a clear intention to present universal ideas and themes through the lens of a Native American perspective, and thanks to skillful filmmaking and acting, the film succeeds at resonating with Native Americans and a general audience. Eyre has described the film as a story about the universal theme of forgiveness, which he believed would resonate with audiences for years. Sufficed to say, he definitely succeeded.
Where it stands today
As a film produced entirely by Native Americans, this film certainly stands as an important part of cinematic history. Its selection for preservation is certainly deserved, and the film is often considered Chris Eyre’s breakthrough film. It won the Sundance Filmmaker’s Trophy and Audience Award and won Best Film at the American Indian Film Festival. Despite not making a splash at the box office, Smoke Signals has come to be highly regarded.
Smoke Signals was made by talented filmmakers with a good eye for character and editing, and thus should be looked to as an example of simple storytelling that speaks to people universally. In a world where Avatar has achieved monumental success and has grown to explore more complexities within Native people, and Martin Scorsese’s critically acclaimed Killers of the Flower Moon has brought to light the many crimes against Native Americans, there is definitely a push for more nuanced and sophisticated portrayals and explorations of Native Americans. It is difficult to say whether Smoke Signals is truly responsible for this greater awareness, but it is nonetheless an appropriate blueprint on the matter. Its general themes and conceit have certainly featured in many films following its release, speaking to the universality of the plot and subject matter. In that regard, Smoke Signals could very well be considered timeless, presenting a story that both defies dominant stereotypes but also tells a gripping, fun, and moving tale that is sure to continue resonating with people for a very long time.