skjam: (forgotten)
White Comanche (1967) dir. Gilbert Kay

Johnny and Notah Moon (both William Shatner) are twin brothers, identical save for slightly different eye colors. Their father was white, and their mother of the Comanche nation. Early on, they were raised in both traditions, but their father died early, and when their mother died around the time that they were ten, the twins were forced to move to an Oklahoma reservation by U.S. soldiers. Their mixed heritage meant that they were not fully accepted by the Comanche, and the whites of the area...were not welcoming.

Johnny chose to aggressively assimilate to white culture, while Notah found solace in peyote consumption, using it even outside formal ceremonies. By the time they were adults, Johnny was able to move out into the wider world as a ranch hand, while Notah started having (or claimed to have) visions of himself being the next great leader of the Comanche people, overcoming the white oppressors and making them a great nation again. A charismatic fanatic, Notah was able to convince a small band of followers to join him in banditry. His excessive violence and cunning soon made him notorious as "the White Comanche."

As the movie opens, Johnny Moon is attacked by a lynch mob who have mistaken him for the White Comanche. This is apparently not the first time it's happened. But after he escapes, he decides that this is enough and tracks down his brother's current encampment. When Notah returns from another raid (more on that in a bit), Johnny challenges him to a showdown to take place in four days in the town of Rio Hondo. (The idea, apparently, is to have a bunch of white folks witness the fight so he can prove that he and the White Comanche are different people.)

Rio Hondo, meanwhile, has its own problems. Sheriff Logan (Joseph Cotten) is trying to prevent a lethal showdown between the competing gangs of General Garcia (Mariano Vidal Molina), a rancher, and Grimes (Luis Prendes), a saloon owner. On the way into town, Johnny saves one of Grimes' men from being lynched (he's not motivated by general goodness, but his own empathy towards lynching victims), which makes the two gangs think he's on Grimes' side.

But then the stagecoach arrives, with the driver dropping dead from his wounds on arrival, and the sole remaining passenger, Kelly (Rosanna Yanni) the saloon girl, who's been raped. This turns out to be the work of the White Comanche, and Kelly initially fingers Johnny as her attacker. (She is the first, and for quite a long time the only, person Johnny bothers to tell about the twin thing.)

Tensions are rising in Rio Hondo, and there may be corpses on the streets even before Notah's raiding party arrives!

This Spanish Western was offered to William Shatner during his summer break from filming Star Trek. He accepted, perhaps thinking that if it worked out and his current television series didn't, he could pivot to being a Western star. He was joined by veteran Joseph Cotten, who had cash flow problems and was accepting almost anything he could get.

Unfortunately, the script is hokey, and the shoestring budget shows. There is zero attempt made to make Johnny/Notah look mixed-race, but the script has everyone be able to tell at a glance. The dubbing for the Italian and Spanish actors is...dubious.

Cotten is better in his role than the movie deserves, and Shatner's...unique approach to the material is certainly something to watch. There's also a bit of his interesting combat style, and lots of him being shirtless.

There's a fairly interesting subplot about Notah's band becoming disaffected with his leadership because he's violating their customs in favor of his personal agenda. Only his wife White Fawn (Perla Cristal) remains faithful, but this does not end well for her.

Content note: Lots of gun, knife and fist violence, often lethal. This includes the deaths of a child and pregnant woman. The few wounds shown are neat red circles in the forehead. Rape, cutting away just before the actual deed. Racism. Drug abuse. None of the Native American characters are played by Native Americans.

While this is by no means a good movie, it's an interesting and watchable one. I think it would do well for "Bad Movie Night" with your friends. The print on my copy, from The Great American Western collection, was exceptionally poor, so you may want to seek out a cleaner one.
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Pan's Labyrinth (2006) dir. Guillermo del Toro (aka "El Labarinto del Fauno"}

It is 1944, and elsewhere in Europe, the Allied troops recently landed in France on D-Day. But here in a remote mountainous region of Spain, Captain Vidal (Sergi López) and his men are hunting down the remnants of the Republicans who lost the Spanish Civil War. Vidal's wife Carmen (Ariadna Gil) is pregnant with their child, and the captain has ordered that sha and his stepdaughter Ofelia (Ivana Baquero) be brought to the villa that is his base of operations. Ofelia is not pleased to be in the proximity of her stepfather, but is enchanted by the forest, and the nearby pre-Christian stone labyrinth.

Ofelia is a bookish lass, who is fond of fairy tales. And it seems that fairies are fond of her, as one leads her to an underground chamber at the heart of the labyrinth. There Ofelia meets the Faun (Doug Jones), a magical creature that informs Ofelia that she is the reincarnation of the lost Underworld princess Moanna, and can retake her rightful place if she completes three tasks before the full moon.

This sounds like an excellent idea to Ofelia as Francoist Spain is no place she wants to live. But she has to balance this with her concern for her increasingly frail mother, whose pregnancy is life-threatening. Plus Captain Vidal is an ever-present threat, despite the attempts of housekeeper (and secret Republican) Mercedes (Maribel Verdú) to soften their discomfort. And who said the Faun has Ofelia's best interests in mind in the first place?

This dark fantasy film is deliberately ambiguous about just how real the magic is. No adult sees the magical creatures move or special effects. It could all be in Ofelia's imagination. This does, however, leave a couple of holes in the plot where certain events have to be shrugged away.

Doug Jones is excellent as both the Faun and the even scarier Pale Man that Ofelia encounters during one of her tasks.

Despite being "neutral" in World War Two and an ally of the United States during the Cold War against the Communists, the fascist-like Falangist government of Generalissimo Francisco Franco was never a favorite of Americans, who sympathized more with the doomed Republicans. Especially as several American writers had served with the Abraham Lincoln Brigade or other anti-fascist units during the Spanish Civil War. I honestly can't think of a single pro-Franco book or movie I've seen. And indeed, after his death and eventual reforms, most of the movies about the time period from Spain itself seem to have been anti-Franco as well.

And so we have Captain Vidal, who is big on obedience, order and purity. He has no respect for women outside their roles as producers of sons, and servants. He thinks of himself as reasonable and just, but easily gives in to temper and cruelty. Captain Vidal feasts with officials while planning to restrict rations for the villagers to prevent them from giving spare food and supplies to the Resistance. (Compare this to the Pale Man, whose table is loaded with delicious-looking food that he will not eat himself, but if you so much as taste one of his grapes, he will kill you.) While he doesn't frame it in those terms, Falangists tended to be aligned with ultra-conservative Catholicism (and the one priest we see is a collaborator with him) so it's not surprising that he is disgusted by Ofelia's left-handedness and what appears to be a pagan ritual.

Carmen means well by her daughter, but has allowed her loneliness and the dangers of being a lone woman in Franco's Spain push her into a bad marriage. Her own childhood was poverty-stricken, and Carmen has long since abandoned any belief in magic. She thinks Ofelia is a bit too old for fairy tales but doesn't actually stop her daughter from reading them.

Mercedes is in a difficult spot. Her position as head servant in the villa makes her invaluable to the Resistance, but also means she must serve a man she despises and if discovered, her life will be forfeit. She seems to believe that Ofelia believes she saw a faun, but passes on a warning from her own mother that fauns are dangerous. It's heartening when Mercedes is able to get a little of her own back on Captain Vidal towards the end because he really is blinded by his sexism.

Ofelia herself is a pretty standard fairy tale protagonist, an innocent child in a bad situation who must complete tasks to unlock her true status (unless of course it's all in her imagination) and who must learn when obedience or disobedience is the correct action. (Repeatedly in the film, disobedience is the correct moral choice, even though it leads to doom.)

The special effects are practical, rather than digital as was becoming increasingly popular at the time, because at that point, it was less expensive and the budget had to be squeezed somewhere.

Content note: Brutal violence, blood and death, including "animals" and children. Torture. Foul language (in Spanish.) Carmen's pregnancy is killing her. Despite the protagonist being a child, this is not a movie for children or more sensitive viewers.

In the end, because this is set in history, we know that the bad guys win, at least for a long time. Only the traces of hope remain. But this is a beautifully shot film, so if you like your fantasy sad, this is a movie for you.

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