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Home Subscribe About Us Features News Album Reviews Movie Reviews Past Movies Movie Resources Concert Reviews Book Reviews Top 10 Contact Us	The Only Good Indian Stars: Wes Studi, Winter Fox Frank, J. Kenneth Campbell, Paul Butler, Thirza Defoe, Laura Kirk, Blake Robbins, Christopher Wheatley, Queen Bey and David Midthunder Director: Kevin Willmott Scriptwriter: Thomas L. Carmody Cinematography: Matt Jacobson and Jeremy Osbern Composer: Kip Haaheim TLC Films No Rating but could be R for violence and language Running Length: 115 minutes The opening scene of The Only Good Indian says it all. The scene is of a peaceful Indian family living quietly, when their tranquility is interrupted by white men on horseback who proceed to take the teenage son (newcomer Winter Fox Frank) with them. The next shot is upside-down, as the boy is hoisted onto the back of a horse. Thus, Native American families are torn apart when the government decided to educate the children and turn them into “whites” who speak English, read English and have a new religion. There is even a burial service to “bury” their "old self." When the boy ends up at a training school, he is told his new name is “Charlie” and that “…lucky for you, you are now going to be a Methodist.” Something similar happened to Aboriginal children in Australia and in the film, Rabbit-Proof Fence. This is Thomas L. Carmody’s tale of a boy and his attempt to return home when he is hunted by bounty hunters, both white and Indian. In this new world, who do you trust, especially since part of the story is narrated by the boy influenced by a book he learned to read, Bram Stoker’s _Dracula_. So this is what white men are really like? The boy’s story continues as he rebels against the strictness of the school and feels his heritage slowly being taken from him. He escapes and after more adventures, meets bounty hunter Sam Franklin (Wes Studi), an Indian, who has embraced the white man’s ways to the extent that he rides a motorcycle instead of a horse, is elegantly dressed, speaks correct English and wants to become the first Indian Pinkerton agent. Into the mix comes an Indian runaway, suspected murderess, “Sally,” (Thirza Defoe), who has been abused and continually sings to herself. If this weren’t enough, on the chase behind Sam Franklin is a sheriff straight out of Lee Van Cleef country, McCoy (J. Kenneth Campbell), who could give spaghetti western actors a lesson or two in grimacing. About the friendliest people the boy meets on his journey are families of black people who live in an almost-deserted town in Kansas that once was flourishing. They are free and want to remain that way and make their own decisions. If I didn’t tell you that the film was shot in Kansas, you would think you were in Texas country, the cinematography by Matt Jacobson and Jeremy Osbern is so good. There are twists and turns along the way in Carmody’s story, that could have been pared down by 10 minutes or so. West Studi’s Sam Franklin is a study in change. No flesh and blood horse for him, instead there is a steel steed and his silhouette on the horizon is an indicator of the New Age. He speaks precise English and dresses impeccably. Newcomer Winter Fox Frank, as Charlie, does well in his role as the runaway who has to figure out who to trust. J. Kenneth Campbell as McCoy, steals his scenes, except when he is with Wes Studi, then they are an equal match. There is grudging respect, though they don’t trust each other for a moment. For each, there is the death of a past, both for Indian and Indian fighter. The Only Good Indian begins slowly and gradually builds up so that the last half of the film delivers. Though somewhat heavy on intent, you get the message that government decisions in new lands weren’t always beneficial to those to lived there beforehand, and that, given a chance, two or three distinct peoples can live side by side. Copyright 2009 Marie Asner