Hey folks, Harry here with our always reliable and fantastic super tracker, Kiowa Scout... AICN's resident historian of all cinematic American Indian events, and right now there is no project more significant or in the eyes of film geeks everywhere than John Woo's WINDTALKERS project. Kiowa has managed to talk a great spirit into giving her the script of said project... and here is where you will find out about the film and the history behind it. Enjoy...
Hello Harry,
Kiowa Scout here with more news from Indian Country. I have juicy scoop for you. I have been given a script version of John Woo's upcoming WWII drama, Windtalkers. It was written by the writing team of John Rice and Joe Batteer (Blown Away). The film is to be the story of the Navaho Codetalkers in the Pacific Theatre.
The experiences of Indian warriors in battle are near and dear to our people. The role of man as protector of the people is the highest calling for an American Indian. Veterans are honored and respected, regardless of the politics behind the conflict. American Indians were denied citizenship until 1923. Nevertheless, American Indians have served their country during war at twice the ratio of any other ethnic group. During WWII, many American Indian tribes exercised their rights as sovereign nations and openly declared war on the Axis Powers.
The Navaho Codetalkers were instrumental to the Allied war effort in the Pacific. They used their native tongue to develop an unbreakable code used in battlefield communications. It was an extremely dangerous undertaking. Codetalkers were so valuable to the war effort that while on detail, each had a bodyguard. These missions were oftentimes made up of just two men (one, white, one Dineh) who would sneak behind enemy lines, locate the enemy, then radio the enemy location to another codetalker for translation. The idea came from a white officer who had grown up on the Navaho (Dineh) reservation with his missionary parents. He spoke fluent Dineh and knew that an Indian language would be unbreakable due to its inherently oral nature (Most Indian languages are not written, but passed down orally from one generation to the next.). Finally, the Army took up his idea in 1944 after suffering heavy casualties in the Pacific Theatre.
The Dineh were recruited straight off the reservation. Recruitment was easy. Like most American Indian men, they were anxious for battle. The lack of birth records allowed many Indian men outside the age parameters to enlist. Thus, both young and old made their way overseas.
Now, for the script itself. The writers have developed the action aspect quite well overall. The visuals described are powerful battle scenes filled with tangible pathos. I found myself quite caught up in the story. However, the message is murky to say the least.
The writers are obviously pandering to the main character, in a blatant attempt to attract an A-list star. Rumors are rampant that Woo wants Nicolas Cage. He would be good, but somehow he's too 'over the top' for this role. I see Jim Caviezal (The Thin Red Line) or Russell Crowe (LA. Confidential). Both actors can play 'tough guy' and still be subtle. Cage hasn't been subtle since Leaving Las Vegas.
The main character, John Enders, endures a horrific battle shown in far too frequent flashbacks. One or two, and you get the drift. He is the lone survivor of his platoon and suffers many wounds, chief of which is the loss of hearing in one of his ears. With the help of a comely nurse, he fools the doctors and returns to duty. His new mission is to be a bodyguard for a 'green' Navaho recruit. He is told to operate as a bodyguard for a codetalker.
The non-Indian characters are, for the most part, dynamic and well-rounded. The writers did a wonderful job with the minor roles. However, the Indian characterizations have some problems. First of all, the two Indian roles have Plains Indian names, Whitefeather and Eaglestaff. The Dineh have their own common names, like Begay or Yazzie. Indians would find this a glaring disparity.
Most traditional Indian males would have undergone battle preparations through prayer, song, ritual, or dance (varied according to tribal customs). At that time, the southwestern tribes were still relatively isolated. Thereby, preserving the culture. The Dineh warriors would have been prepared for battle by the tribe's holy men (not necessarily a medicine man). They would not shrink or cower from a fight! That is also a glaring fault of the script.
I understand the need to demonstrate the courage of the lead protagonist, but not at the expense of the subject. If the movie is an attempt to relay the largely untold story of the American Indian contribution to WWII, you need to make their characters as true to reality as the action. Freezing up in battle would be tantamount to treason, and a traditional Native would rather die than display cowardice.
One arc of the script addresses the 'spy element' of the story. It involved the duty of the bodyguards to their respective codetalker. Under no circumstances is the codetalker to be captured. Bodyguards were instructed to kill their ward rather than see them captured. A particularly gruesome scene described how one codetalker who lost his bodyguard in battle is seen losing his nerve and going blank. The other bodyguard (Enders) throws a grenade into his foxhole just as the Japanese are trying to capture him. Enders' codetalker (Carl Eaglestaff) finds out what really happened and attacks Enders. Eaglestaff then performs some mumbo-jumbo with corn pollen, intimating a curse. Now, I am not Dineh nor from the reservation, but I cringed reading that. Eaglestaff was a warrior, not a holy man. The curse makes him vindictive. It also feeds into the 'evil red man' stereotype of Indians. Hollywood loves to paint us as emotionally unstable with volatile temperaments. The opposite holds true for most traditional peoples. A traditional Indian is taught to be thoughtful both in word and deed. We are taught to carefully consider the consequences of our actions, even when facing death.
I found this part of the storyline emotionally disturbing as an Indian member of the audience. I can understand why the Navaho Codetalkers Association is offended by certain elements of this script. I am very glad that Mr. Woo has Dineh consultants to help him broaden the writers' view of American Indian soldiers in the military.
I mean no disrepect to the production crew of Windtalkers. I am so glad that Hollywood is recognizing this bit of history. I am glad that we have the opportunity to have our esteemed veterans honored in this way. I am glad that real Indians will be on screen. I am glad that the Dineh soldiers themselves are being consulted for script revisions.
As Kiowa Scout, I have a few friendly suggestions. Show us a little more background on the preparations for battle which the Dineh warriors took. Show us the outside of a hogan with smoke spiraling out a hole of the roof.
Let us hear the Dineh holy men praying, singing, and chanting inside. Let us see the new warriors emerge days later with the prayer markings of corn pollen on their bodies. The audience could then better appreciate the traditions of warrior societies. The role of the warrior is not to engage in violence for the sake of violence. A true traditional warrior engages in violence as a last resort in protecting 'hearth and home'.
This is the perfect fodder for discussing race relations in the military. It would be great to see Eaglestaff save Enders in a key scene, instead of the other way around. We could see firsthand how race factors in on the battlefield. Show us a true Dineh warrior that is brave, strong, and calm when confronted by the enemy. Show us why he is willing to lay down his life for a country that neither respects nor honors his efforts. Show us an Indian man who fights alongside others who call him "Chief", regardless of his actual tribal social status. Show us how Indian soldiers are always sent out on 'point', because supposedly nature made them 'scouts'.
Yet, they persevered the prejudice to distinguish themselves in battle. Our veterans come home to parades and grand celebrations (even during Vietnam). They are put on pedestals as icons of honor. Would that our government did the same.
I truly believe that this American story must be told. I only hope that Hollywood can get it right this time.
