John Trudell | Through the Shattered Lens

THUNDERHEART came out back in 1992, when I was a mere 18-year-old and trying to go to the movies any time I possibly could. I already liked Val Kilmer based on his performances in such diverse films as TOP SECRET (1984), REAL GENIUS (1985), TOP GUN (1986), and WILLOW (1988). I also liked the director Michael Apted, who had directed the underrated Gene Hackman courtroom drama CLASS ACTION the year before. I figured THUNDERHEART would have to at least be pretty good…

Val Kilmer stars as the young FBI agent Ray Levoi, who’s sent to a Sioux reservation in South Dakota to assist veteran agent Frank “Cooch” Coutelle (Sam Shepard) in a murder investigation. You see, Levoi is “part” Indian, so the thought is that his family heritage will at least give him some credibility when dealing with the Indians on the res. At first overly confident and cocky, he begins to change as the investigation uncovers a history of corruption, violence and broken political promises that have had a tragic impact on the people of the reservation. By the film’s thrilling conclusion, Levoi has been forced to question his own identity and decide who his loyalties truly belong to!

I’m a big fan of THUNDERHEART. I really enjoy the arc that Kilmer’s character undergoes in the film. At first, he’s extremely cynical and doesn’t want to have anything to do with being the special “Washington redskin” in the FBI’s murder investigation. When he gets stuck with the job, though, he just wants to get it over with as soon as possible. But as the story moves along and he meets various characters like Walter Crow Horse (Graham Greene), Maggie Eagle Bear (Sheila Tousey) and Grandpa (Ted Think Elk), he begins to see the truth behind their situation. By the end, he’s willing to give up everything to solve the crime and bring those responsible to justice. Kilmer allows this 180-degree turnaround to happen naturally, and I personally believe that this is one of the more underrated performances of his career.

The primary supporting cast deserves a lot of credit as well. Graham Greene brings wisdom and an engaging sense of humor to his character of Walter Crow Horse, the tribal police officer who starts out as a pain in the butt to Levoi prior to becoming a trusted ally. And I’ve always loved Sam Shepard, who plays the grizzled veteran agent Frank Coutelle. He’s completely believable as a man who’s seen it all, maybe a little too much, over the course of his career. The dusty South Dakota landscapes become a character all its own and provide the perfect backdrop to the story. This is a movie that feels authentic instead of like some staged Hollywood production.

I also like that this movie isn’t afraid to take its time with the story, a story that’s based on real events and that feels very relevant to this day. Stop me if you’ve heard any of these themes lately: governmental distrust, cultural identity, justice… THUNDERHEART’s entire storyline is wrapped up in these ideas. If anything, the film seems even more meaningful today than it did in 1992. There are times that Apted may operate with a bit of a heavy hand, but this movie isn’t interested in serving up cardboard villains or easy answers. Rather, we’re treated to an engaging mystery-thriller that never overshadows its characters and eventually rewards us for our patience.

At the end of the day, THUNDERHEART is a film that I highly recommend. It’s not going to blow you away with its action, although there are several exciting sequences. But I do encourage you to give this film your attention and settle in with the plot and the characters. Inside this crime thriller, there’s a strong human story about a man who comes to terms with his identity while gathering the courage to fight for the truth, no matter where that may lead. Although there were a lot of good options, when I read that Val Kilmer had passed away, THUNDERHEART is the film I watched to come to terms with the moment.

There’s a scene early in SMOKE SIGNALS where Victor Joseph, played by Adam Beach, tries to teach Thomas Builds-the-Fire (Evan Adams) how to be a real Indian. He ends the scene with “This ain’t Dances-with-Salmon you know?!” It’s a funny exchange, but it also clues the audience in on the fact that this isn’t going to be your typical Hollywood movie about Indians. Directed by Chris Eyre and written by Sherman Alexie, it’s the first feature-length film written, directed, and produced by Native Americans to reach a wide audience both in the United States and beyond. As such, we get a story that feels fresh while tackling a variety of difficult subjects with humor and optimism.

The story focuses on Victor as he travels from the Coeur d’Alene Indian Reservation in Idaho to Phoenix, Arizona to retrieve his father’s possessions after learning that he’s passed away. His father abandoned him and his mother when he was just a boy, and he’s clearly been scarred by the situation. Along for the ride, mainly because he can afford to pay their bus fare, is Thomas Builds-the-Fire, his nerdy and talkative friend. From this point, the film becomes a road trip, and we follow along as they make it to Arizona and back. While there is funny stuff along the way, the movie is mostly interested in observing Victor as he comes to terms with the trauma and pain left behind when his dad went away.

I’ve always liked Adam Beach, and he’s very good here as Victor. His character spends a lot of the movie angry at the world, but from time to time, he’ll flash this big, wonderful smile. It’s a nice inside-out performance as he seems to be simmering on the inside and just trying not to explode. And then there’s Evan Adams, whose Thomas is awkward and optimistic, and who loves to tell big stories about Victor’s dad. For example, they have this awesome exchange where Thomas tells Victor that his dad looks like Charles Bronson. As Bronson’s biggest fan, I can tell you that Victor’s dad, played by Gary Farmer, looks nothing like Charles Bronson. The scene has a nice punchline as Thomas tells him that he doesn’t mean the Charles Bronson from the first DEATH WISH, but more like the Charles Bronson of DEATH WISH 5! The movie has several unexpected scenes like this, and the genuine chemistry between these two guys is what makes the movie work for me. I believe it when their characters begin to understand and appreciate each other, and it’s their emotional connection that gives the film some staying power even after the credits roll.

There are some additional performances that I enjoyed. I mentioned Gary Farmer, who plays Victor’s dad. His Arnold Joseph is not the most sympathetic character in the world, as he chooses to run away from a guilt that he can never deal with. Somehow, by the end, we have some understanding of his actions. And then there’s Irene Bedard as Suzy Song, the young lady who befriends Victor’s dad and calls his mom when he passes away. Best known for being the voice of Pocahontas in the Disney animated classic, she conveys kindness and compassion in her relatively small role. Tantoo Cardinal is good as Victor’s mom, and Tom Skerritt even shows up in a cameo as a police chief in Arizona. Sherman Alexie’s screenplay, based on his book “The Lone Ranger and Tonto Fistfight in Heaven,” is simple, yet full of depth, and it’s brought to life by an excellent cast.

Even though SMOKE SIGNALS was made almost thirty years ago, it’s still a very relevant film to this day. It’s funny, it tackles difficult subjects that are universal to all of us, and it’s told from a Native American perspective that we seldom see. In other words, it feels like we’re dealing with real people, not the romantic caricatures or noble victims that Hollywood still tries to push on us in movies about Indians. It’s not a flashy film in any way, and that’s okay. It’s one of those movies that understands its characters and trusts the audience enough to just hang out and observe them. Anchored by an excellent performance from Adam Beach, it’s a perfect example of how movies can be a lot better when Hollywood gets out of the way and let’s genuine, talented people tell their stories.

I watched SMOKE SIGNALS on the Paramount Plus streaming service.