It's no secret that movies mix a lot of fiction with the facts. This film seems to have rubbed both history buffs and fans of the book the wrong way, but I thought it was a compelling, evocative film nevertheless.Starting off where most movies end, at a CGI created overhead shot of The Little Big Horn (!), this instead focuses on the final years of the Unions war against the Indian nations, culminating in the massacre at Wounded Knee.There's a really great role for Adam Beach, as a young Souix doctor, who's father turned his back on the native ways and sent him to live amongst whites at a young age, stripping him of his identity.August Schellenberg is excellent here as Sitting Bull, who's determination and pride stokes the anger of the powers that be, including Aiden Quinn, a sympathetic but patronizing Senator who has taken it upon himself to lead the Indians on a path to "civilization".Anyone who watched the myriad Cavalry pictures and Little Big Horn epics should see this and find out how the whole sad story ends.
I'll have to admit that I tried reading Dee Brown's "Bury My Heart at Wounded Knee" on two separate occasions, the last time quite recently, and I found it to be VERY dry. Perhaps that was only in the early going, but I wasn't able to complete it both times. As for the film, I came across it quite by accident at my local library, not being an HBO subscriber. If I had my druthers, I guess I'd side with those reviewers who feel a more complete story could have been told using a mini-series format. However given the medium, it's a compelling film that highlights the plight of the Native American Indian in the dying days of the Old West, and with it, the death knell of a proud warrior people.I recently visited the James Fenimore Cooper Museum in Cooperstown, New York, and at the time, actual Sioux drawings were on exhibit depicting the Battle at Little Big Horn. Watching the aerial view of the attack on screen suddenly put into perspective the circular rendition of an artist's rendering on a full size tee-pee. It was like seeing a painting come to life with a soaring eagle's eye, perhaps devoid of detail, but breathtaking in it's panoramic perspective on the immensity of the battle. Not to mention the hopelessness of Custer's cause.The film can be absolutely depressing at times with it's depiction of outright slaughter, and perhaps even more so once the Sioux tribes are relegated to reservation life. We get to see how the 'Every Man a Chief' designation, though sounding completely egalitarian, works to strip away a proud chief's identity and status within his nation. I'm actually glad that the film didn't explore Sitting Bull's Wild West Show days with Buffalo Bill. Fortunately, he was able to reaffirm his own dignity with the 'one last time' confrontation against Senator Dawes (Aidan Quinn), a legacy that remains standing to this day.Nice performances all around by Aidan Quinn as Senator Dawes, Adam Beach as the conflicted Ohiyesa/Charles Eastman, and August Schellenberg as Sitting Bull. President Grant came and went too quickly for me to recognize Fred Thompson under the beard, a trait he might also suffer as a Presidential contender unless he gets that fire in the belly.
É assustador ver o discurso de assimilação indígena utilizado nos EUA de 1880 sendo utilizado pelo governo brasileiro em pleno século XXI.O filme é baseado no livro "Bury My Heart at Wounded Knee" escrito por Dee Brown e publicado em 1970.O roteiro adaptado conseguiu fazer um retrato fiel dos 02 tipos de genocídios praticados pelo governo americano (com ou sem o seu consentimento), o massacre brutal deliberado e a assimilação, uma assimilação tão grotesca, tão desumana que rebaixa a condição de um forte espírito livre indígena a uma caricatura sem alma, pedinte, dependente e fraco.Uma produção sem muito dinheiro, mas com um esmero na fotografia, no figurino e na escolha das locações.
Terrific archival footage from a range of seminal civil rights events, as well as affecting narration written by Sarah Kunstler and spoken by Emily Kunstler (who also edited the film), round out this superior documentary.
The film's point is clear. And for those looking for a straight answer, it's this: The bravest lawyer isn't the one who takes on the clients that allow him to feel good about himself. It's the one who takes on the clients that give us nightmares.
Acclaimed screenwriter and director Oliver Stone, whose work includes "Wall Street" (1987), "The Doors" (1991), "JFK" (1991) and "Nixon" (1995), served in the Army and deployed to Vietnam from 1967 to 1968. His wartime experiences would shape some of his later films.
"Platoon" was always Stone's story and he worked 10 years to get it on screen, said retired Marine Capt. Dale Dye, who played Army Capt. Harris, the commander of Company B. Dye, who was also the film's technical advisor, was the only Vietnam combat veteran on the set beside Stone. He shared some of his thoughts on the filming.
"Oliver and I often had intimate and unspoken moments sparked by something we were staging or filming. I recall both of us having to walk away for a few minutes while we were filming the scene that involved interrogating some villagers. We had employed actual Vietnamese refugees that we'd found in the Philippines and being surrounded by extras shrieking and conversing in Vietnamese brought us both right back to Nam," he said in a Dec. 29, 2021, interview with this journalist.
"Most people don't know it, but the patrol scene that runs during the opening credits was actually the last day of my training for the cast. Oliver observed the patrol I was leading along a riverbed and loved the look of it, so he changed what he originally had planned and filmed the patrol instead," Dye recalled.
"He was always doing things like that, shooting targets of opportunity, whenever he saw something that jogged his memories of his own experiences. And, it was really valuable to me personally as an aspiring filmmaker. I learned a ton just watching Oliver and Bob Richardson work," he said. Richardson was the film's cinematographer.
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Bury My Heart at Wounded Knee is a 2007 American Western historical drama television film adapted from the 1970 book of the same name by Dee Brown. The film was written by Daniel Giat, directed by Yves Simoneau and produced by HBO Films. The book on which the film is based is a history of Native Americans in the American West in the 1860s and 1870s, focusing upon the transition from traditional ways of living to living on reservations and their treatment during that period. The title of the film and the book is taken from a line in the Stephen Vincent Benét poem "American Names." It was shot in Calgary, Alberta, Canada, and premiered on HBO on May 27, 2007.
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240. The divine Persons are subsistent relations, and the world, created according to the divine model, is a web of relationships. Creatures tend towards God, and in turn it is proper to every living being to tend towards other things, so that throughout the universe we can find any number of constant and secretly interwoven relationships. This leads us not only to marvel at the manifold connections existing among creatures, but also to discover a key to our own fulfilment. The human person grows more, matures more and is sanctified more to the extent that he or she enters into relationships, going out from themselves to live in communion with God, with others and with all creatures. In this way, they make their own that trinitarian dynamism which God imprinted in them when they were created. Everything is interconnected, and this invites us to develop a spirituality of that global solidarity which flows from the mystery of the Trinity.
Release Name: awoundedfawn20221080pamznweb-dlddp20h264-smurfRelease Date: June 10, 2022 (United States)Audio: English | AAC | 256 kb/sRuntime: 1 h 30 minSubtitles: English
Learn about over 1,000 camps and ghettos in Volumes I-III of this encyclopedia, which are available as a free PDF download. This reference provides text, photographs, charts, maps, and extensive indexes.
What keeps us from grieving with those who grieve? Numbness. Across our diverse congregation, this numbness is rooted in different personal histories. For some, it is the shock of so much raw, murderous videotape in this social media age. For others, it comes from white shame that is unable to break through to solidarity. Others remain wounded and numb from the horrible loss of dignity after their own contentious encounters with law enforcement. Whatever the reason, intentionally or not, paralysis results in a lack of compassion. 2b1af7f3a8