One of the more iconic images we get from The Searchers, features John Wayne standing in the doorway of a home, the majestic landscape of Monument valley behind him. It’s a recurrent motif in The Searchers, looking out through a doorway; it makes a great metaphor through which to view the content of a western. Those of us watching in the present look out into the wilderness beyond, almost as if we were viewing the frontier from the shelter of civilization itself. Men like John Wayne move back and forth across that threshold, but we don’t. We view the mythic American frontier from the safety of the hearth while dangerous men, real men, like John Wayne transform the world beyond into the safe environments we now call home. After standing in the doorway a bit in the final scene, Wayne saunters off back out onto that wilderness. He may be an agent of civilization, but he’s never quite at home in it. Wayne belongs out there, in the desert with all kinds of wild men. It’s about as powerful a statement as anyone ever made in the western genre.
This image returns to us in Malaglutit, a remake of The Searchers by Zacharias Kunuk and Natar Angalaaq featuring an all-Inuit cast. This time what passes for an entrance is a hole torn into an igloo by men for the explicit purpose of taking women by force. Just as in the John Wayne/John Ford version of this story, the raiders have carried women off to parts unknown. The effort to reclaim these women will of course provide the substance of the story itself, but that moment when the men in either film return to find carnage in what should be a home is one of the more powerful scenes in the story. In The Searchers, Wayne enters the wrecked home and pauses in a small doorway, clearly distraught by what he sees. In Malaglutit, the porthole isn’t even a doorway it’s a gaping wound. This porthole isn’t about frontier mythology; its symbolism is more direct, far more graphic, and it speaks far more directly to the violence that has occurred inside, the violence still occurring somewhere out there.
This film has been on the festival circuit for a couple years now, but it’s still rather hard to come by. I finally got a chance to watch it when we showed Malaglutit at the Motif Film Festival in Fairbanks last month. Zacharias Kunuk may not be that well known south of the arctic circle and outside of indigenous circles, but he probably should be. His movie, Atanarjuat (Fast Runner), is perhaps the most well known of his creations. Now THAT film you can get ahold of. It’s well worth the watch. Angalaaq is best known for playing the lead role in Atanarjuat, though he was also excellent in The Necessities of Life. And it’s one of the reasons I have been looking forward to Malaglutit. The Searchers is easily one of the greatest westerns ever made. To see it remade as an indigenous production raises all manner of interesting prospects. To see it done by people as talented as Kunuk and Angalaaq makes them all that much more interesting.
Oh yeah; Spoiler alert!
It’s difficult to make a sustained comparison between the two films, though that seems to be where I am going with this. Kunuk’s cast is all Inuit. The villains, the heroes, the heroines; all of them are Inuit. So, the many racial themes present in the original Searchers just don’t enter into this version of the story. Along with the absence of race, I think you’d have to say the essential themes of an American western are largely missing here (though at least one critic has referred to it as a Northern). It seems that some of the landscape Kunuk filmed might echo the rock formations of Monument Valley, but if so, the resemblance is slight. Most significantly, the central protagonist here is doesn’t carry the moral complexity of John Wayne’s Ethan Edwards. At least, we don’t have to wonder if Kuanana (the hero in Malaglutit) will kill his wife and daughter instead of rescuing them. That was a big part of the original Searchers, and it’s not present in this story.
What is present here, what is new to the basic-story-line, is an extraordinarily frank meditation on rape. In the original Searchers, violence between men is all over the screen, but the rape and torture of women takes place off-screen. We are invited to imagine its horrors, but what we see are men shooting at each other in a plot-line shaped by those horrors. In Malaglutit, we see much (though not all) of the sexual violence. From the moment of capture to the actual rape of the women in this film the camera lingers; we are forced to watch this play out slowly on screen. I wouldn’t say that the scenes are all that sexually explicit, but I would say that they are emotionally explicit. What we see isn’t body parts; people struggling with one another. Perhaps the most disturbing scene in the whole film, at least for me, occurs shortly after the initial capture when the kidnappers pause for a break in their travel, their captives still tied to the sleds. Ostensibly a chance to eat and rest, it is also the first time they and their victims are alone together with enough time to contemplate the prospects ahead of them. It is a moment of calm, and yet one thoroughly saturated with violence.
There is something about the stripped down nature of this story line that helps us focus on the violence against the women here. Yes, there men struggling to save these women, but the epic battle between good men and evil men doesn’t eclipse the struggle between the captors and their captives in this story. We are never afforded the luxury of thinking about this as a story about men. The unimagined horrors of The Searchers have been put right there in front of us in Malaglutit. In the original, John Wayne’s character is driven made at the thought that his niece might have gone native so to speak, that she had been sullied by a Comanche and (worse) that she might have grown to accept it. Racial themes play a big part of the horror through which Wayne’s character views the events in question. In Malaglutit, racial differences are non-existent, and the violent process by which a captive might be made to give up hope unfold right there on the screen in front us us.
But do they?
Do they give up hope?
That was the question that occupied my attention throughout this story. Of course I also wanted Kuanana to rescue them, and I wanted the bastards who committed these terrible acts to be punished. But more than anything else, I wanted the women, Ailla and her daughter, to come through themselves. I wanted to see them hold on, not because Kuanana would have wanted them to, but because I saw enough of their story to care about their own struggle, their own part in this story-line.
At the end of the day, this really is its own film
I’ve been thinking lately about the notion of Mother Earth (or Primal Gaia). She figures rather prominently in a lot of the literature I read back in grad school, and I frequently have occasion to revisit some of that material with my students. What has me thinking about this lately is a few discussions on the topic of climate change initiated by a colleague of mine. So, like I said, …I’ve been thinking about her lately.
To say that I find it hard to believe in such an entity is putting it mildly. I don’t literally believe that the earth itself has a will of its own. Even still, I can’t help thinking the notion of Mother Earth has a lot going for it. Near as I can tell, talk of Mother Earth conveys two things about the environment that are all easily lost in Her absence.
The first entailment is a sense of dialogue (or perhaps dialectic) in nature. So long as we think of the world around us in terms of objective data it becomes that much easier to anticipate the consequences of our own actions in terms of an essentially cause and effect sequence. We may recognize that some of the effects of our actions escape us at the moment, but that just doesn’t stop folks from thinking of their actions in terms of a discrete cause and effect sequence based on our present understanding of the world at hand. If I do x, the result is y. That seems to be how people think about objects.
Not other people!
Subjects.
People (and most living things) can be predictable, to sure, but they are never entirely so. My cat is meowing at me as I type this. I expect she will bring me a toy to play in a moment. That’s what I expect her to do, but she may surprise me. Likewise, I may surprise her. Maybe this time I won’t stop typing and toss the toy about for her to chase it. Likewise, my students may not do the assignments I give them; my boss may not count my workload as I expected; and the folks at Amazon may not package my latest order of chili paste as they have so many times in the past. Living things…
(Pardon me. I’ll be back in a moment.)
…
..
.
Anyway!
As I was saying, living things always seem to add something else to the mix when they react to our own behavior. Sometimes, they even start things of their own accord. Therein lies one of the real advantages to thinking of the environment in terms like those suggested by terms like “Mother Earth.” It gets us out of the habit of thinking that we know exactly what She is going to do. …of thinking that the concrete effects we hope to bring about with any given action ever come close to a thorough account of our impact on the world around us. I can think my way to this bit of humility, but talk of Mother Earth suggests that notion from the very outset. If I think of the earth as a living thing, I don’t have to remind myself that burning carbon-based fuels may have unintended consequences. I can be sure of it. In this context and others, I can be sure that Mother Earth will always add something to the mix when she responds to me and others.
Oh sure, we can conceive of particular things in terms of fairly discrete cause&effect relationships. If I leave a Cocacola outside, it’s going to freeze and burst. Hit a ball with a bat and it will fly away.Better yet, hit a cue ball low with a well-chalked cue-stick and it will (hopefully) spin backwards after contacting the object ball. These are things we can imagine in relatively specific terms. But as our account of the object world expands, as we approach aggregate subject matter such as an ecological niche or regional environments, our ability to conceive of things in such neat terms starts to fall apart. Which is precisely what makes the notion of Earth as a subject in Her own right becomes a rather tempting option.
But I did say that the notion of Mother Earth conveys at least two things about the physical environment, didn’t I? Well the second is pretty simple. Thinking of earth as our Mother effectively conveys a sense of nurturing. More to the point, it conveys a sense that we are the ones being nurtured, and that we are dependent on her. Since She is a person, rather than a thing, or even a collection of things, this means we are dependent on Her good will.
The upshot of all this is a kind a moral responsibility, a sense that life itself entails a moral responsibility to earn the good will of the world that makes our lives possible. We could get to that sense of moral responsibility in other ways (even stewardship, perhaps), but I don’t know of any ideas that convey it quite so effectively as notions like those of Mother Earth or Primal Gaia.
For me , at least, She may be little but a metaphor, but for a metaphor, Mother Earth can be damned compelling.
***
So, what has me thinking about this tonight? A film called People of a Feather. This documentary follows the efforts of an Inuit community dwelling on the shores of Hudson Bay (near the Belcher Islands)as to learn why the local population of Eider ducks is in serious decline. Following substantial die-offs in the 1990s, they asked the Canadian Wildlife Service for help in determining the cause. What they got in the way of help was Joel Heath, an ecologist who documented his years of research in this film.
This is a gorgeous film. Heath’s underwater footage of Eider ducks swimming about in search of shellfish is absolutely spectacular. He also spends a good deal of time documenting the lives of local Inuit and filming the cycles of surface ice on Hudson’s Bay. One of the things I like most about this film is the way Heath leaves much of the detail without comments. He simply lets his camera linger on the scene and leaves us to piece together the details for ourselves. If Heath has done his job well, and he has, the footage alone is often enough to tell a story in its own right.
What the film does take the time to explain is just what is happening to stress the Eider ducks in this region of Hudson Bay. It’s worth knowing at the outset that these ducks do not migrate. Instead, they spend the winter along small patches of open water called Polynyas. The problem of course is that something is happening to the Polynyas. They have become significantly more unstable in the 2000s, effectively leaving the ducks without a dependable means of surviving the winters.
So, why is this happening? The simple answer is that the hydro-electrical systems used to heat the major cities of Canada have altered the currents (along with the salinity) of the bay. The Hydro-electric dams in the region typically release large amounts of fresh water into the bay during the winter, effectively reversing the normal cycles of activity. The increasing instability of the polynyas may be just the tip of the iceberg here (ironic metaphor, I know). Heath’s work, and that of his Inuit friends thus raises questions about the total long range-impact of the power-grids used to support the mainstream communities of Canada. As people who rely on the natural cycles of the region to support themselves, the Inuit who initiated this research are felling the effects more directly than those living in the cities, but this is small comfort to anyone contemplating the long-term consequences of changes in the water system of the region. In effect, the eider ducks may have been a bit of a miner’s canary. Things are happening in the area that no-one really anticipated, and the questions are how much change will the hydro-electric systems brings about? How much will they be allowed to bring about? Are there alternatives?
People of a Feather doesn’t really answer these questions, though Heath does outline a few brief policy considerations as the credits roll. What makes this film great, however, is his patient development of the problem itself, and in particular his ability to help us understand just what this problem means to the Inuit living the area, Inuit who (it must be emphasized) saw fit to initiate the study itself and provided active support throughout its development.
This is one of those times when indigenous people got the details right. It’s a story of indigenous people working closely with scientists to address an important question about the natural environment. I’m reminded of similar efforts to improve the accuracy of whale counts along the coast of the North Slope here in Barrow. When scientists and Inupiat whalers disagreed about the number of bowhead whales in local waters , both groups devised new means of counting the whales. Turns out the Inupiat were right. (You can read about it in The Whale and the Super Computer by Charles Wohlforth.) Simply put, it pays to listen when indigenous communities raise concerns about what’s happening in the local environment. They don’t just give us grand abstractions like Mother Earth and poetic themes for movies, poems, and pastel-laden paintings. Sometimes, they really do provide the best resources for understanding particular things.
That said, I do find myself wondering about the story-line presented in People of a Feather. It’s not the most heavy-handed narrative, to be sure, but in this film it would be fair to suggest the hydro-electric dams appear to be the source of evil, so to speak. That isn’t because the people producing them mean to hurt anyone. It really isn’t. Rather, the problem is an unintended consequence of their function, a consequence felt most particularly by an indigenous population whose livelihood is determined as much by the natural cycles of Hudson’s Bay as it is by those of the modern market. Which reminds me of other narratives that could be told of this same issue, narratives about progress and development, of carving a civilization out of the frozen wilderness. These are the narratives that will be more familiar to people living closer to those power grids, and to most I suspect that will read this blog post. In these narratives, the dams are good thing, almost a miracle, one that makes possible the lives of countless people. We could probably even point to a few benefits enjoyed by those in various indigenous communities. Those connections are there. How we sort the details, and what people want to do about them is another question. My point is that these grand narratives tend to predetermine the significance of the facts. It may not even be that the policy-considerations demand a choice of one value or another, but in the stories people tell about this such an issue the choice is often already made by time the plot starts to quicken.
…which may be the reason this film has me thinking about Mother Earth. This is one more instance in which something people didn’t anticipate turned out to be critical to the lives of some people (and some ducks). It’s also one case in which people have begun to sort those consequences out, just as we hope to be doing with issues like global, ocean acidification, and so many other issues in which the natural environment as a whole seems to be threatened, and along with it, us. Yet our understanding of these issues is always playing catch-up to the processes we’ve initiated, and frankly, it isn’t clear that this understanding is catching up fast enough. It’s enough to make us wish we had a way of talking about these issues that reminded us from the outset of just how much we don’t know about the impact of humans on the environment.
The temptation to call for Mother aside, it’s worth noting that comparable metaphors typically guide popular thinking (and policy) on the subject as it stands. Here I am speaking of the invisible hand of the market. Hell, the very notion of a market is a bit of a metaphor, an image that transforms known tendencies, tendencies with variable strength and effective) into a kind of thing that we can depend on. Do people in cold climates want a means of keeping warm? Supply will rise to meet the demand. The market will sort its way to a kind of equilibrium. One could easily apply such thinking to the process which puts all those dams on Hudson’s Bay to begin with, and it would help us to understand a few things. But this thinking too relies on the turn of a metaphor, and it too seems to distorts the facts in a few subtle ways.
One of the most interesting things about the invisible hand of the market deity is just how effectively it can be used to remind us of just how little we know about the economic impact of government policies. Time and again, market theorists remind us that each and every regulation (such as laws mitigating fresh water release in the Canadian hydro-electic system) will have unanticipated consequences. Time and again, free market fundamentalists will tell us to be wary of efforts to correct social ills. We may just make them worse! They are right, of course, except on the main point, because those truly devoted to this metaphor consistently tell us to let the market work itself out. It’s easy to think of this as a kind of humility, a recognition that being mere mortals, human beings cannot anticipate all the consequences of our own actions. The problem of course is that free market fundamentalists will only carry this logic as far as the market itself. How those unintended consequences will affect the balance of human relations to the environment is typically beyond the scope of their reckoning. Any humility we may learn from tales of the invisible hand seems ironically to leave us with an odd certainty in its own right, a mandate to leave unquestioned most anything done in the name of profit. For a lesson in humility, this takes us to a place that looks awful lot like hubris.
Stories of the invisible hand bid us to exercise caution less the market come back to bite us for every effort to legislate our way to a better world. They don’t do much to address the externalities piling up in the environment around us. In vie of these externalities, it is becoming increasingly clear that just about every cost-benefit analysis ever computed in human history has fallen short of a proper reckoning. I don’t see an adequate account of this coming from those devoted to the image of the invisible hand. If such is to be had, it will either come from painstaking empirical research, or from the language of another metaphor entirely.
We meet the protagonist of this 2008 Canadian film in Baffin Island of the 1950s. Tiivii (played by Natar Ungalaaq) struggles for breath as he ascends a small hill in search of geese, his wife and children are just waking in their tent below. Upon seeing a boat on the half-frozen ocean, Tiivii sets aside the hunt and takes his family aboard for a series of medical tests. As the boat prepares to leave, Tiivii is told he must remain aboard, leaving his wife and children to fend for themselves while he undergoes treatment for tuberculosis.
When next we see Tiivii, he is soon staring at a tree at the hospital in Quebec City, amazed at his new surroundings and quite unprepared for the coming hardships that await him. He does not fully understand his illness, nor does he realize how long it will take him to recover. He also has no idea how his family will fair without him.
An Inuit lost in civilizations? It’s an interesting twist on a familiar theme, that of a stranger in a strange land. The point is soon driven home as we see Tiivii struggle to master the use of a fork and spoon while the other hospital patients consume platefuls of pasta. He figures it out, but not before earning the derision of his roommates.
Through the story, we are invited to see the hospital and western civilization through Tiivii’s eyes, to see common utensils from the perspective of one who has never used them before and to imagine a common meal from the standpoint of someone has never eaten anything like it. We can also imagine his confusion at the sterile bathroom with its flush toilet; his longing for someone to talk to makes perfect sense; as does his desire to eat familiar food.
We’ve seen this storyline before, a person completely out of his element. It is often used to explore the differences between civilization and savagery. This was the premise for Dances With Wolves, and before that with Little Big-Man and A Man Called Horse. It’s a common enough theme in arctic films as well, being found in White Dawn and Snow Walker among others. What makes this film different is the trajectory of the stranger in this case; he has left a world unfamiliar to most of us, to enter one most of us will find rather familiar. We are used to seeing the story go the other way. Still Tiivii’s journey is compelling. Through his eyes, the western world becomes strange, unreasonable, and quite insane.
This particular twist on the stranger in a strange land contains an element of nuance, however, that would be easy to miss. Audiences may think they know what it means for an emissary of modern western society to live amongst primitives, but what does it mean for such an individual to come live amongst us, or at least the 1950s variation thereof? It would be easy to think that Tiivii spends the entire story marveling at the wealth and richness of the city. In the space of a few opening scenes he has made a transition from the life of a forager scratching out a meager existence on the tundra to a cosmopolitan center with all the wonders of contemporary society. Tiivii may see this world from the shelter of a hospital bed, but he does see it just the same. How could he possibly understand the complexities which have put food on his plate in that hospital, or those that enable him to flush that same food away in the porcelain toilet? It would be awfully easy to think of this as the story of a simple man lost in the wealth of the modern world
…except that would not explain the title of the movie.
The title comes to us in a scene near the end of the film, one in which Tiivii explains to a young patient named Kaki (Paul-André Brasseur) what it is like to be out on the tundra. Although Inuit himself, Kaki, has spent his formative years in the hospitals. He does not understand the kind of life his own people have led. Asked what his homeland is like, Tiivii explains:
Beautiful. Lots of mountains. From the top you can see everything. You can see exactly where you are going. Not like here, where there are trees everywhere and you can’t see ahead. There’s a huge island. It takes many days to travel around it. There’s everything you need, all the necessities of life. Seals. Caribou. Geese.
Tiivii’s face lights up with each point of his speech, but the point of the scene would be missed entirely if this was thought to be nostalgia. Tiivii’s speech provides the strongest hint in the movie as to just how he sees the world around him. It is not a world of abundance at all; it is one in which he cannot see the materials out of which to make his clothes much to less to build a home. It is a world in which he cannot see food or medicine. All of these things must be brought to him. If this is mysterious, it is not the mystery of a miracle so much as a perverse trickery, one which hides the means of life from him while doling out the necessities a little at a time. Far from marveling at the wealth of civilization, Tiivii has been lost in the desert the whole time. He doesn’t see modern miracles in plumbing or cutlery. Instead he sees a world of mostly useless materials.
I think this is the real genius of Necessities of Life, that it actually flies in the face of conventional notions of the difference between foragers and civilized folks. Ever since Nanook of the North, mainstream film-makers have marveled at the struggle of arctic hunters against hunger and the elements. Time and again, Hollywood’s ‘Eskimos’ have been portrayed as dwelling on the edge of starvation, and it would be awfully easy to see in Tiivii’s story just another chapter in that narrative, one in which one of these primitives actually gets to experience the wealth of modernity. And yet, what Tiivii actually tells us is just the opposite; wealth is waiting for him back home on Baffin Island, and he cannot wait to leave the extreme poverty of the modern world behind.
Okay, I know it’s not actually Saturday, but I wanted the alliteration. I’ll try to stick to the Sarcasm-Free theme though, which should be easy enough, because I actually like today’s subject. Yes, I actually like some things. Honest! Case in point, here is a batch of my favorite movies. They are not documentaries. Each tells a fictional story, but each sets that story squarely in a distinctive “tribal” setting. Each is carried out in the native language of its setting, and each uses native actors. The authenticity of each depiction varies (and that is always a tricky question no matter how it’s handled). Suffice to say that in each of these cases, there seems enough to get my attention, and each tells an interesting story in its own right. We can begin this tour in Africa with a movie called The Rain Warriors (2005). The story follows a group of young Massai warriors as they embark on a quest to slay the incarnation of a deity. Yes, I said “deity,” but it’s worse than that, really. The deity has taken on the form of a lion, and killing this lion-deity is the price it will take to bring rain back to the region, thus saving their people from starvation. In the process, this young group of warriors will also have to prove that they are ready to become men. Given the role of Age-sets in Massai life, it is interesting enough to see a coming of age n this setting, but some reviewers have suggested the plot is a bit too romantic to be taken too seriously. It is difficult to say how much of this premise is genuinely rooted in Massai thought and how much is the projection of its French Director, Pascal Plisson, but the same could be said said about some serious scholarship on the very same subject. In the end, what I like most about this movie is the juxtaposition of the classic coming-of-age theme with the role of warriors. It is a simple paradox. The main characters face life and death challenges, the sort of challenges that separate the men from the boys, so to speak. …and yet, the main characters are boys, a fact which they demonstrate often enough during the course of the story, and sometimes with dire consequences. This feature of the movie isn’t just interesting story-telling. It a truth of actual warfare, that it is often carried out by youth. With so little to separate them from the activities of childhood, these characters must somehow find within themselves the courage and judgement to make adulthood possible. Watching this movie reminded me of the First chapter of Slaughterhouse Five and Vonnegut’s comparison of his own wartime experience to the Children’s Crusade. Add this touching theme to the unique flavor of the cultural setting, and we have a worthwhile sitting. But don’t try to eat dinner while you watch this movie. …unless, you speak Massai. It sucks to read subtitles in between bites of a taco. I’ve tried. Sailing a ways out to sea, we come to the movie, Ten Canoes (2006). This movie is set in the wetlands of Arnhem Land in Australia. With its two European Directors, this movie too has its non-native input, but the team makes a serious effort to produce an authentically indigenous story. (And this is an interesting story in itself, as made clear in the extras provided in the movie.) The most interesting thing about this film (to me anyway) is the double framing of the story. We begin with a humorous narrative by David Gulpilil whom you may recognize from Rabbit Proof Fence, Cocodile Dundee, or The Proposition (to name just a few of his credits). This story sets the stage for another one (depicted in black and white) about a group of men cutting canoes to go hunting birds in the wetlands. One of the men, Dayindi, is envious of his older brother’s wives, or at least one of them (if you get the drift). he also thinks it unfair that he should have no wives while older men in his community should have so many. Responding to his younger kin, his brother, Minygululu, tells Dayindi the story of an ancester similarly stressed by thoughts of his own brother’s wives. This latter story is depicted in full color. So, we have a story within a story within a story. If that doesn’t make your sense of awesome blossom, then you can go suck a carrot! Without giving too much away, the framing infuses the movie with a meaning well beyond each of the individual narratives. Gulpilil’s opening comments help to set in perspective the nature of life itself and the ties between people and their land in Aboriginal thought. The middle narrative sets up a moral dilemma which will generate not one but two separate plot-lines. The conclusion of Minygululu’s narrative then turns out to be an answer to Dayindi’s own dilemma. Its significance for the opening narrative is a little less clear, but that just leaves us with something to think about. And a reason to watch this movie yet again. And Finally we have Atanarjuat, or The Fast Runner (2001). This movie is set in Canada, or more properly Igloolik. It’s cast speaks Inuktitut throughout the film. To say that this is an Inuit production would be putting it mildly. The plot for the movie is derived from (and largely faithful to) an Inuit story. It’s directer, cast, and crew, are all Inuit. (Okay, maybe not everyone on the crew, but you get the idea.) And just to be clear about this, the intended audience appears to be Inuit as well. (To say that Inupiat seem to like this film too is putting it mildly.) True to the nature of native story-telling, the film wastes little time explaining the cultural landscape, or establishing the setting in which its characters live. The movie is made for those who know the setting and will recognize its central characters and themes. It gets right into the plot, relating the central challenge of Atanarjuat and his family, a powerful curse which is to haunt his family throughout the story. The curse which begins the story is placed on Atanarjuat’s father, leading the family to experience great hardship. In time Atanarjuat and his brother grow strong and prove themselves capable hunters. Atanarjuat himself vies with a rival, Oki, for the the affection of a beautiful young woman, Atuat. The twists are turns in this story are many and varied (I cannot do justice to them), leading eventually to the scene which provides this film with its English title. Attacked in his sleep, Atanarjuat flees naked across the sea ice, chased by three spear-wielding foes. And here, let us take a moment to acknowledge the lead actor in this production, Natar Ungalaaq, for the bad-ass that he is. The man did in fact run naked across the ice during this production. yes, he had some fake feet made, but they didn’t last long, and otherwise he was naked. How cold was it? When he was naked? Well, here’s a clue, the ocean underneath him was frozen! Bad ass. BAD ASS! There is an interesting twist at the end of this movie, which I will not relate here. Suffice to say that there is at least one respect in which the film deviates from the traditional narrative, It was a conscious choice and one that substantially changes the meaning of the story, hopefully rendering it more salient to modern life. To learn what I am talking about, you are just going to have to watch the movie. Okay, this may not be entirely free of sarcasm, but then again it isn’t really Saturday either. What did you expect? Postcript: I have heard good things about The Orator (2011), a Samoan film which is unfortunately difficult to get in the U.S. and more difficult still here at the top of the world. Luckily, a copy has been floating around here in Barrow and I am hoping to get my hands on it soon.