buffalo girls ( 1995 film )
character portrayed in tombstone: virgil earp born: august 9, 1944; sacramento, california notable awards and nominations: emmy awards: - 1995 best supp. actor in a miniseries nomination for buffalo girls golden globes: - 1991 best supp. actor in a telefilm nomination for conagher - 1995 best supp. actor in a miniseries nomination for buffalo girls
featured in the 47th annual primetime emmy awards (1995). see more »
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i first saw buffalo girls when it was on tv back in 1995, and i enjoyed it then. the story line is good. there is some good acting, especially from sam elliot, jack palance, and anjelica houston. i can therefore recommend the dvd for all western fans .
i' m a big fan of larry mcmurtry' s lonesome dove and had high hopes that buffalo girls would be equally good, though i have to say i was really disappointed .
medium: television program: the national magazine broadcast date: sept. 11, 1995 guest: ovide mercredi host: hana gartner duration: 6: 46
* miniseries :
buffalo girls ,
cbs ;
children of the dust ,
cbs ;
joseph ,
tnt ;
martin chuzzlewit ,
pbs ;
a woman of independent means ,
nbc .
wild. untamed. legendary. buffalo girls celebrates the bold escapades of tough - talking calamity jane canary and her illustrious cohorts. it' s the waning days of the wild west and jane, the... see more »
wild. untamed. legendary. buffalo girls celebrates the bold escapades of tough - talking calamity jane canary and her illustrious cohorts. it' s the waning days of the wild west and jane, the... see full summary »
anjelica huston' s connection to the cbs mini - series
buffalo girls
started long before the producers bought the rights to larry mcmurtry' s 1990 best - selling novel. in fact, it started even before the book was published .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
i saw this film years ago and thought what a good film it was now i have a great dvd and can watch it any time i please and at a great price too .
newson, janice a .
outstanding contribution award 1994: alanis obomsawin .
society: société. vol. 19, no. 2 (may 1995), p. 37 - 39 .
* supporting actor, miniseries or special: jeffery de munn ,
citizen x ,
hbo; sam elliott ,
buffalo girls ,
cbs; ben kingsley ,
joseph ,
tnt; edward james olmos ,
the burning season ,
hbo; donald sutherland ,
citizen x ,
hbo .
in 1971, alanis completed her first film, christmas at moose factory, a film that reflects her attachment to the children of this remote cree village on james bay. she did this by presenting the drawings and paintings of the children and by giving them the opportunity to talk about these images and daily events in their community. her second film, mother of many children (1977) was a project alanis felt very strongly about from the beginning. in this film ,
* actress, miniseries or special: glenn close ,
serving in silence: the margarethe cammermeyer story ,
nbc; sally field ,
a woman of independent means ,
nbc; anjelica huston ,
buffalo girls ,
cbs; diane keaton ,
amelia earhart: the final flight ,
tnt; alfre woodward ,
the piano lesson ,
cbs .
it' s not a sure thing that she knew buffalo bill ,
ms. huston said .
she definitely knew hickok and asked to be buried next to him .
because she is identified with what she called
sophisticated parts ,
the physical challenge of
buffalo girls
was additionally appealing .
i' ve heard people say that this was an unusual role for me, that it must be a very big jump ,
ms. huston said .
but in a way it was more natural for me than a lot of other roles i' ve played .
when she finally returned to acting, she did only one small film before she was once again paired with john huston on
prizzi' s honor .
having watched part of this film on tv and missed the last part i decided to buy the dvd and watch it complete. so glad i did. really enjoyed the film and it came only after a few days of ordering. it does make a change to see how the women lived and worked in the old west .
she also made the film for other children :
i want people who look at the film to have a different attitude next time they meet what is called a' problem child', and develop some love and some relationship to the child — instead of alienating him .
( alioff and schouten levine, p. 12 )
for the record los angeles times saturday july 22, 1995 home edition calendar part f page 2 entertainment desk 1 inches; 32 words type of material: correction another nominee - - the listing of emmy award nominations on friday omitted a sixth nominee for best informational special. also nominated was
the united states holocaust memorial museum presents: one survivor remembers ,
hbo .
the cast includes melanie griffith as jane' s best friend, dora dufran, a madam with a strong romantic bent; jack palance as calamity' s seedy trail partner, bartle bone; sam elliott as hickok, and peter coyote as buffalo bill .
wild. untamed. legendary. buffalo girls celebrates the bold escapades of tough - talking calamity jane canary and her illustrious cohorts. it' s the waning days of the wild west and jane, the rough' n' rugged cowgirl, is searching not only for her long - lost daughter, but the wild west she once knew. jane traverses plains, mountains and continents until she finally discovers the answer to her problems: dora, the vivacious, gold - hearted madam who' s been her one true friend all along .
steven, peter .
interviews: alanis obomsawin .
in brink of reality: new canadian documentary film and video. toronto: between the lines, 1993, p. 176 - 186 .
i was very pleased when the alberta government bought the rights to the film. many social workers in different departments see it now. one time i was in edmonton... and a man who had been the provincial ombudsman presented me with two new reports, saying that the richard cardinal film had helped force new policies and laws in alberta. young people in the audience said to him,' why do you need a film to be made before you change the law?' he quickly replied,' well, sometimes the government waits for the public to make a move, to push, otherwise they don' t know.' it was incredible. i was shocked but happy that the film was able to do that. but primarily, i made it for richard .
wild. untamed. legendary. buffalo girls celebrates the bold escapades of tough - talking calamity jane canary and her illustrious cohorts. it' s the waning days of the wild west and jane, the rough' n' rugged cowgirl, is searching not only for her long - lost daughter, but the wild west she once knew. jane traverses plains, mountains and continents until she finally discovers the answer to her problems: dora, the vivacious, gold - hearted madam who' s been her one true friend all along. written by echo bridge home entertainment
monk, katherine .
first takes: our home and native land .
in weird sex & snowshoes: and other canadian film phenomena. vancouver: raincoast books, ©2001, p. 45 - 62 .
wild. untamed. legendary. in this made - for - tv movie, buffalo girls celebrates the bold escapades of tough - talking calamity jane canary and her illustrious cohorts. it' s the waning days of the wild west and jane, the rough' n' rugged cowgirl, is searching not only for her long - lost daughter, but the wild west she once knew. jane traverses plains, mountains and continents until she finally discovers the answer to her problems: dora, the vivacious, gold - hearted madam who' s been her one true friend all along .
she had difficulty convincing others to fund the film. the topic was not of interest to the film board, nor did it garner the support of the department of indian affairs (which had partially financed other films). alanis received letters telling her to
forget it
. at one point, she gave up but then reconsidered because of all the energy she had already invested into it. she went to ottawa and started knocking on doors until she came back with funding from the secretary of state. it was necessary for her to do one segment at a time and then go looking for more funding. when the film was finally finished, she received a letter from the secretary of state saying they had
never invested their money in a better way in any film up to that time .
( alioff & schouten levine, p. 14 )
the film is weaved in the west, and the period, but it is not swallowed up by it which is too oft' the case. * doffs hat * to the production team and writers for that .
a good tv film. the main characteristic is typical of tv films or mini - series. it is slightly too slow and it concentrates too much on close up shots of characters or faces, and ...
later, her films covered more political and social issues, beginning with incident at restigouche (1984), a film about the two controversial raids by a battalion of 550 quebec provincial police of a small mi' kmaq reserve on the restigouche river. the reason given for the raids was that the quebec ministry of fisheries needed to investigate alleged salmon overfishing on the reserve. this film was an important one for alanis because it was one of the first to demonstrate her strength of character. gittings calls alanis' confrontation of the then quebec minister of fisheries, lucien lessard, one of the
strongest scenes
of any documentary film because she points out the
hypocrisy and short - sightedness of his position on national sovereignty
:
obomsawin traces the cycle of life from birth to childhood, puberty, young adulthood, maturity, and old age, through introducing the viewer to girls and women from many different first nations across the country. it is a family album of native womanhood, portraying a matriarchal society which has been pressured for centuries into adopting different standards and customs ...
alanis obomsawin is the best known of many aboriginal canadian documentary filmmakers, perhaps because she is one of the first, having started with the national film board (nfb) in the 1960s. however, she is also well known because of her monumental undertaking of creating an educational film that delves into the complex and historical circumstances surrounding the
oka crisis
in the summer of 1990. this film, entitled kahnesatake: 270 years of resistance, has been shown at many film festivals and other venues and is studied at schools and universities across the country. it is effective not only because of her style — using interviews that render a sense of subjective sensitivity and integrity — but also because alanis was the only filmmaker allowed
behind the scenes
and able to provide the point of view of the mohawk people. her reputation as an advocate for social justice for native people in canada through her filmmaking certainly garnered the trust necessary to enter into this sensitive and dangerous situation, yet she is much more than a filmmaker or an activist .
yet it was not just the minister of fisheries that alanis took it upon herself to confront. it was also necessary for her to challenge certain people at the film board, who thought she shouldn' t be interviewing
whites
. she responded to these individuals :
the first time the film showed in edmonton... i saw many people i assumed were social workers. their faces were severe and some took notes. they looked very unfriendly. i understood. i knew how they felt. after the film, i' ll tell you, it was dead silence. but when i started to talk the atmosphere changed totally. i said to them,' i know some of you think i' ve made this film to point the finger at you. i didn' t do that. i want all of us to look at what has happened to this child. i want to force the government to change the rules — to find better foster places for these children.'... i wanted the feeling that this must not happen again .
where are those parts ?
she asked. she was referring specifically to characters like maerose prizzi, the mafia princess of the 1985 film
prizzi' s honor ,
and lilly dillon, the scheming and ultimately tragic gambler and gangster of
the grifters .
gittings adds that
by the end of the interview and the end of the film, lessard makes a personal apology for any problems his actions may have caused .
( gittings, p. 218) this is one of the prime examples of alanis
fighting back
in her adult life .
* variety, music or comedy special :
the 67th annual academy awards ,
abc ;
american film institute salute to steven spielberg ,
nbc ;
barbra streisand the concert ,
hbo ;
a comedy salute to andy kaufman ,
nbc ;
eagles hell freezes over ,
mtv .
emmy - winning, star - studded television movie looking at the legend of calamity jane (anjelica huston), the hard - living, bull - whip cracking heorine of the american west. she teamed up with some of the great female legends of the west as well as starred in buffalo bill' s (peter coyote) wild west show and became the lover of wild bill hickock (sam elliott) .
one reason, she said, is her background. not her famous show - business background as the daughter of the great film director john huston and granddaughter of the actor walter huston. (in truth, she said ,
my father did not direct many westerns; they were not his signature stuff .
)
alanis obomsawin is a woman of complexity. her native culture is rooted in the beauty of her early childhood on the odanak reserve and the fight against discrimination and injustice of her teenage years. as a young adult, she became a singer, educator and activist. her work with the national film board, though not without its challenges to a woman and aboriginal filmmaker, has allowed her to further her role, through film, as an educator and advocate for social change, thus living up to her name as a
pathfinder
. she is a fighter who resonates with compassion and an understanding of the imperfection that underscores what it means to be human :
obomsawin calls film a' place' where native people can talk to each other about their losses, their memories of injustice, their desire to share what is good about their way of life, and with that sharing as viewers of her documentaries perhaps arrive at a better appreciation of how the dispossessed, dislocated, and disoriented try to come out of the abyss. this social realism is what makes obomsawin narratives potent and cathartic; they are like the axiom which says one has to deal with the poison before a process of healing can begin. to her as director / producer / writer, film must attempt to transform people and society; it must be an artifice of social reform .
on sep. 11, 1995, members of the kettle and stony point band bury anthony dudley george. the 38 - year - old chippewa man was shot and killed during a confrontation between police and a group of indigenous protesters at camp ipperwash. first nations leader ovide mercredi has just attended george' s funeral. in this television clip, he speaks to cbc' s hana gartner about how to resolve land claims. mercredi says the events at ipperwash and gustafsen lake made him realize indigenous people have to resolve land claim issues differently .
we don' t want to walk any more of those distances up the hills to bury our dead ,
he explains .
this film follows the aftermath of the oka crisis, which brought indigenous rights into sharp focus. after the barricades came down, the royal commission on aboriginal peoples was created, and travelled to more than 100 communities and heard from more than 1, 000 representatives. for two - and - a - half years, teams of indigenous filmmakers followed the commission on its journey .
from this film, obomsawin went on to create another important work, richard cardinal: cry from a diary of a métis child (1986), a poignant look at the short life of a métis adolescent who committed suicide after having been shuffled in and out of 28 foster homes and institutions. alanis felt very strongly about what happened to richard, saying ,
i tell the kids to look at the loss that we have, what a poet he was. he' s gone. it' s too bad nobody realized, what happened, how he got there .
( steven, p. 182) the film also provided a penetrating look at the child welfare system in alberta at the time, and it brought about change. says alanis :
it is this combination of strength and courage to challenge intermingled with compassion that define her as a filmmaker of substance and integrity. similarly, alanis has never wanted to publicize her own challenges as an aboriginal woman filmmaker in the male world of film. rather than speak out on her personal struggles, her priority is to advocate for social change and to bring the voices of aboriginal peoples to the forefront :
ms. huston wanted to be an actress .
i always wanted that, from the time i was really small. i wasn' t particularly encouraged .
still, when she was just 15, her father took the risky step (for both of them, as it turned out) of casting her in the lead role in a 1968 film called
a walk with love and death .
since then, alanis has made several other films, including one on an addictions recovery center near edmonton, one on homeless people in montréal, and a film about a day care center in montréal — all about aboriginal institutions serving aboriginal people. then came the events at oka, and the series of films that evolved from behind - the - scenes film footage, including the arrest of one of the individuals involved in the stand - off and a personal look at one of the
warriors
, an iron worker who had worked on high rises in new york city. more recent films include is the crown at war with us? (2002), which depicts the violence and racial tension evident in the political events concerning the new brunswick fisheries near the mi' kmaq community of esgenoopetitj (burnt church) .
this western is my favourite western of all time. an epic and loosely based on facts, this entertaining trip through the chnging of the west is just fantastic. all of the actors fit the characters perfectly. anjelica huston and melanie griffiths are superb... and reba mcintyre as fantastic. and you would never know that gabriel byrne was irish. the american accent is spot on. and the bonus is buffalo bill cody. this is a must for anyone who enjoys a good western. (or just for the time capsule )
obomsawin' s films represent a corrective to the historical exclusion of native image in film, the vast majority of it has been created without the consent and most often without the control of the native person whose image is being taken and utilized in media. i really believe alanis is using a medium to provide a voice and a story for a lot of people who historically have not had that opportunity .
over four hours and locations ranging from santa fe, n. m. , to bath, england, ms. huston takes calam, as she calls her, through a near miss with the doomed command of gen. george armstrong custer, through an equally doomed romance with wild bill hickok, to a painful parting with a baby daughter she felt she could not care for, to adventures with mythic western figures like buffalo bill cody, sitting bull and annie oakley, and finally to a trip to england with cody' s famous wild west show to perform for queen victoria .
alanis continues to work for the national film board and has also continued singing and visiting schools, prisons and communities. her best - known recording, bush lady, was released in 1988. on a more personal note, she has raised her daughter, kisos, who is now in her thirties. she also does etchings, some of which she exhibits publicly from time to time, to help de - stress from the work of the day .
in 1965, the canadian broadcasting corporation (cbc) made a documentary on her performances and her social activism for their telescope program, which brought her to the attention of two national film board producers, wolf koenig and bob verrall. they were working on a documentary on activists and invited her to consult on this and several other projects. by 1967, she was working on her own projects, including multimedia educational kits for the manowan and l' hawat tribes .
... nobody is going to tell me who to interview or not interview. and if you feel that i, as a native person, cannot interview white people, we' ll go through everything the film board has done with native people, and see who interviewed them. and i' ll tell you something else, not you, nor any other person could have faced the minister the way i did. you' ve got a long walk to do before you can do that .
obomsawin has said that the most important part of her making kahnesatake was that' there had to be a document that came from us... that was crucial.' less than an attempt to be the definitive voice, kahnesatake was a distinct voice, one among many, and one that, finally, would allow the people under siege and their compatriots to give their side of the story. going so far as to call the film' s approach demagogic shows a lack of clear understanding of the uses to which obomsawin' s subjective voice is put .
this movie pulls out the two sides of me. on one hand it is entertaining. on the other hand, it is nearly completely historically inaccurate. wild bill, calamity jane, dora dufran, buffalo bill cody, annie oakley and sitting bull were all real people. there are some portions of this movie that are as close to historically truthful as they can be. if i am being honest, no one really knows the whole truth about these famous people. my love for stories of the old west and the people in them makes this an entertaining show to me. the acting is very good and the sets interesting if again, looking nothing like the actual deadwood and black hills. if you are going to watch this show, watch it for the love of westerns and a decent story, not for the history that you can learn. enjoy it purely for enjoyments sake .
[ she also ] went to see the worst place richard had been and i met the foster father there. the man was very upset and angry and wouldn' t cooperate. i told him that i was going to make the film anyway. richard' s diary had already been seen publicly. he said that it' s all lies. but i also saw that man as human, for who was to know back then when he had richard what would happen? many native children and white children were in bad situations. then you expose that situation twenty years later. some of these people just didn' t think. so much has gone on unknown to the public .
three years after alanis arrived in trois - rivières, her father died and she began to rebel against the prejudice and racism :
my life changed when i was 12... my father died and i decided i wasn' t going to get beat up at school every day by the other girls in the classroom. it was just a decision — just like that i said,' no more'. and that' s all there was to it. it stopped the next day
( monk, p. 60). she also fought against the
indian
stereotype :
i never believed what i was told i was. i knew that there was a lot of wrong there. every time i tried to do something they would tell me,' oh you can' t do this, you' re an indian!' the more they said that to me, the more i said,' well i am going to do that anyway'. i was just a fighter. i just wanted to make changes .
( harewood, p. 14 )
[... ] the white imagination of hollywood has come to see the american indian as a social victim in much the same way as canadian literature did decades ago. from the cardboard villainy of indians in old westerns from the fifties, to the noble martyrdom of a socially minded effort like little big man, and more recently to such homages as dances with wolves and geronimo, we can see hints of revisionism taking hold, nudging americans into a less divisive and slightly more humble perception of national self vis - à - vis the native peoples who were destroyed in its creation... . the most obvious — and most important — improvement is that we now have a body of film work created by aboriginals, instead of white people telling aboriginal stories, in the context of the identity process, this development cannot be undervalued because it puts the power of creation back in the hands of those who are being represented ...
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based on the novel by larry mcmurtry. hard - drinking frontier free spirit calamity jane and her best friend brothel proprietor dora dufran face adventures and romance in the rugged dakota territory of the 1870s .
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artistic license anomalies: deadwood is in the black hills, a long way from the rocky (or any) mountains, and dora dufran died thirty years after calamity jane did .
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i heard he was doing a book about calamity jane ,
ms. huston said .
i was instantly interested .
how could she not be? ms. huston added. after all, mr. mcmurtry had written
lonesome dove ,
the book that became the most successful television mini - series in recent years, and she considered it
a real coup in my career
to have been included in its cast .
but this opportunity seemed, if anything, even better .
i mean, calamity jane !
ms. huston said .
i thought, this is right up my alley. i love to ride; i love the outdoors; i love westerns .
the result, to be seen on sunday and monday nights, is an epic of the last days of the american west, in which ms. huston plays calamity jane, the legendary army scout, bullwhacker, mule - skinner and wild west show performer .
calamity jane is precisely the kind of huge, dense, demanding, interesting starring role that ms. huston said she and other experienced actresses of her generation almost never encounter in theatrical films anymore .
lilly remains, quite literally, close to ms. huston' s heart on a cloudy april afternoon in the beverly hills office of her publicist. ms. huston, tall and striking in a way that attests to her earlier career as a model, is wearing faded jeans perfectly matched with a jeans jacket that bears the name lilly in red script right over her heart. on the back of the jacket in much larger letters is
the grifters .
she' s also wearing what look like snakeskin cowboy boots, much fancier than anything calamity jane would have come by, even if she could have plugged a rattler on the prairie - - which would have been unlikely .
she wasn' t much of a shot ,
ms. huston said .
she swore and drank like a fish and pretty much lived like a man .
nor does the resemblance stop there, said mr. mcmurtry, who reported that the real calamity jane may have been a hermaphrodite. he gleaned that morsel from an unusual source: sen. alan k. simpson, republican of wyoming, who once wrote a college paper on calamity .
she was certainly very odd - looking ,
mr. mcmurtry agreed .
mr. mcmurtry is an unabashed admirer of ms. huston .
i think she' s just wonderful in the role ,
he said in a telephone interview .
she basically carries the picture .
ms. huston researched the real calamity jane but was able to discover far less than mr. mcmurtry was able to imagine .
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ms. huston almost did not get a chance to play the role. suzanne de passe, the show' s executive producer, always wanted her for the part, but when production was due to begin, ms. huston was not available. a delay cleared up that problem, and now ms. de passe says :
anjelica was born to play this role. when you think of her size, her horsemanship, her sense of humor, this role employs the full range of anjelica' s talent .
rather, she was referring to her upbringing in the west of ireland, a place, she said, that
has a soft spot for the american west .
indeed, she added ,
every boy who grew up there wanted to be a cowboy .
it was hellish to work with my father ,
ms. huston recalled .
a horrible experience. i didn' t like the script. i didn' t like the movie .
the movie was not successful, and both of them were excoriated by critics charging nepotism .
ms. huston was put off movies for more than a decade. instead, she modeled .
i don' t know why it was necessary to be in the public eye physically, but it was ,
she said .
maybe i needed to prove something .
it was very intimidating to come back and work with my father ,
she said .
i was not only working with him; i was working with jack nicholson, who i was living with at the time. i was very daunted and very afraid .
but the role made her a movie star. she won the academy award for best supporting actress .
after numerous other films, including woody allen' s
crimes and misdemeanors
and two trips with the
addams family ,
ms. huston said the well of intriguing scripts has grown appallingly dry .
there were maybe four female parts all last year ,
ms. huston said. one was
death and the maiden ,
which she said she considered. but other choices simply weren' t there .
meg ryan is adorable, but she' s not the only actress working in america ,
ms. huston said .
i mean, this is the year when meryl streep had to do' the river wild.' they' re trying to make meryl streep an action hero? she' s a great actress .
the source of the problem is not hard to identify, ms. huston said .
there' s not a lot of the human factor in movies anymore ,
she explained .
it' s all explosions - - and mostly male explosions. most of what i read now is repeats of past successes. things out of the italian - american genre of' prizzi.' maybe it' s happening because we don' t have enough female writers, or men aren' t writing for women, or no one' s interested in writing anymore .
she qualified those points: no one in movies .
television is much better to women than movies ,
ms. huston said. and that is the reason she had no hesitation about returning to television for a second journey with larry mcmurtry .
will she be back on television? most likely, she said ,
and i think you' ll see other actresses turning to television as well .
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with the headline: anjelica huston savors an adventurous part she was' born to play' .
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would gabriel byrne' s agent please get him one role that is not wrist - slittingly depressing for the love of god! ? his ol' broken cowboy, teddy blue, and his put - on american accent is endearing nonetheless .
angelica houston and melanie griffith give a beautiful performance as two honest good - hearted friends .
every miniseries, made - for - television movie, special, or documentary ever nominated for an emmy award in any category .
this list was compiled to inspire games of deadlands, the best weird west rpg .
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this short documentary offers a portrait of a group of women who led their community, the largest reserve in canada, six nations of the grand river reserve, in an historic blockade to protect their land .
on february 28, 2006, members of the iroquois confederacy blockaded a highway near caledonia, ontario to prevent a housing development on land that falls within their traditional territories. the ensuing confrontation made national headlines for months. less well - known is the crucial role of the clan mothers of the community who set the rules for conduct. when the community' s chiefs ask people to abandon the barricades, it is the clan mothers who overrule them, leading a cultural reawakening in their traditionally matriarchal community .
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many journalists and other writers have attempted to capture the spirit of this well - respected filmmaker. an article in take one presents a captivating description of the enigma that is alanis :
the 70 - year - old writer, director and member of the abenaki nation is considered one of the country' s most distinguished filmmakers. a pioneering artist, singer, educator, community activist, member [ now officer ] of the order of canada, obomsawin is to her legion of admirers a legend in her own time. obomsawin — one of only three remaining staff documentary filmmakers at the nfb — has moved from the margins to the center of institutional power in canada. while her work is now officially embraced by the repressive state that she lombasts [ sic ], obomsawin has retained the instincts, sensibility and posture of the eternally alienated outsider... . in person, obomsawin is the epitome of dignity, grace and fine manners. she is humble and without affectation... . as an interlocutor she can be mischievous, playful and wildly funny. belying her gentle, nurturing nature, she is a formidable force when challenged. able to shift her mood at a whim, she possesses a wholly unique quality that allows her to disarm and charm at the same time. her piercing dark brown eyes host a swirling sea of emotion, at times compassionate, inquisitive, earnest, defiant and wise .
later, when she was nine years old, she moved with her mother and father to trois - rivières, located only 48 kilometres from the odanak reserve. this proved to be a difficult adjustment, as she was the only native child at school and was not fluent in french or english. as well, she experienced prejudice and racism on a daily basis and was regularly beaten up by her schoolmates. in history classes she was forced to listen to
teachings
about
martyred priests being tortured to death by indians .
( alioff and schouten levine, p. 10) people often looked down on her and her family. her parents, however, remained true to their native traditions and spiritual beliefs, and often even treated many of their neighbours with traditional herbal medicines .
this fighting spirit is something she brings to her work although she uses more strategy now, which comes with maturation. it was because of her experiences at school that she has become active for social change :
that was my fight from the very beginning, to fight for changes in the educational system concerning our people, and i wanted to see our history being taught and to try and do our own programs and get it in there as part of the curriculum .
( tallon, p. 12 )
alanis left trois - rivières at the age of 22 and, after having learned to speak english in florida, moved to montréal in the late 1950s, where she became part of a circle of artists. soon after, she emerged as a singer (often traveling the folk music festival circuit but also performing in schools, museums and prisons) and a storyteller, primarily to help instill a pride in native oral histories and hence a sense of self - esteem in native children .
obomsawin' s first love centres on aboriginal youth .
( steven, p. 176 )
when you came to restigouche, i was outraged by what you said to the band council. it was dreadful. the chief said ,
you french canadians are asking for sovereignty here in quebec. you are saying it' s your country and you want to be independent in your country. we are surprised that you don' t understand us indian people and our sovereignty on our land .
and you answered ,
you cannot ask for sovereignty because to have sovereignty one must have one' s own culture, language and land .
incident at restigouche also gave the people of the reserve a sense of dignity and a chance to express themselves. it also created a better understanding between members of the community .
for alanis, it was one of the most painful films she has made. she travelled to richard' s home town of fort chipewyan and visited the cemetery where he was buried .
it is easy to see alanis' compassion for others, including the foster parents. it wasn' t her intention to point fingers at people who were struggling, such as social workers, but more to change an ineffective system :
i attended the inquiry into richard' s death and by the time the last social worker came into the box, i began to feel for him too. he told the judge he had a hundred cases and had to travel two hundred miles. the rule was that they had to see each placement once a month. now, nobody can do a good job with that... the government' s whole system was so bad. but when you look at the immediate situation you blame the first person you can. i didn' t want to do that .
several writers have offered the analyses of alanis' distinctive filmmaking style. one strong element is the issue of the authenticity of voice, or the need for aboriginal people to tell their own stories :
the interview, used to shape point of view, becomes a valuable instrument to validate individual biography, make intelligible the ongoing struggles for native self - definition, and contest eurocentric narratives of first nations history... . her work subverts the objectifying tendencies of the social documentary by revealing a heartfelt respect for the past and present of the people she has filmed .
her work displays little in the way of stylistic flourish or excess, and usually features explanatory voice - overs... however, this apparently simple aesthetic is peppered with a pronounced subjectivity. further, obomsawin' s work displays a tendency towards lyricism and massive narrative digressions... describing her style, obomsawin has said that' i like to make it as plain as possible, so that the attention has to be on the work and what the people are saying... i don' t like to do fancy things where your attention is on other things'... even though she draws on a semi - minimalist form, obomsawin' s films are extremely subjective. this subjectivity is most clearly expressed by her own voice... the voice - over is far from the voice - of - god variety... ; instead, it has the effect of identifying whose eyes are seeing the action .
although alanis has been taken to task for her subjective stance, in general, these criticisms have demonstrated a lack of understanding in what she is trying to do. white further explains :
these passages indicate that alanis has developed her own style, using the interview format and subjectivity in a powerful way to accomplish her role as an advocate for social justice for aboriginal peoples .
i would never even stop going to prisons, and skid row, where you find a high percentage of our people. you watch the drinking, the people sleeping on the sidewalks, being abused, and you hear terrible language. it' s a snake pit. but i cannot divorce myself from them. there was a time when i was told that' s where i should be. i fought back and fought back. that' s why i understand and love all the people down there. they' re not separate from me... . there' s lots of people that somehow have managed to be strong and do something. i don' t mean to say that the people who are down there on the street are not strong. but how much can you take and how long do you go on until you finally believe what they' re telling you: that you' re no good, ... that you don' t have a culture that you don' t belong. you see your parents who are drinking, who are in a terrible state. and you look in the mirror, and you don' t like what you see, so you end up fighting your own people... and it took me many, many years before i could understand that .
the basic purpose is for our people to have a voice. to be heard is the important thing, no matter what it is that we' re talking about — whether it has to do with having our existence recognized, or whether it has to do with speaking about our values, our survival, our beliefs, that we belong to something that is beautiful, that it' s o. k. to be an indian, to be a native person of this country .
alanis obomsawin .
national gathering on aboriginal artistic expression. ottawa: canadian heritage conference june 17 - 19, 2002. urltoken (accessed september 8, 2004) .
allioff, maurie, and susan schouten levine .
interview: the long walk of alanis obomsawin .
cinema canada. no. 142 (june 1987), p. 10 - 15.
buffalo girls is a 1995 miniseries adapted from the 1990 novel of the same name by larry mcmurtry . directed by rod hardy , the miniseries starred anjelica huston and melanie griffith , with gabriel byrne and peter coyote . it was nominated for two golden globe and several emmy awards , and won one for sound mixing . this miniseries was first aired on the cbs network over two consecutive nights during the spring of 1995 . 
buffalo girls is a 1995 miniseries adapted from the 1990 novel of the same name by larry mcmurtry. directed by rod hardy, the miniseries starred anjelica huston and melanie griffith, with gabriel byrne and peter coyote. it was nominated for two golden globe and several emmy awards, and won one for sound mixing. this miniseries was first aired on the cbs network over two consecutive nights during the spring of 1995.
buffalo girls is a 1995 miniseries adapted from the 1990 novel of the same name by larry mcmurtry. directed by rod hardy, the miniseries starred anjelica huston and melanie griffith, with gabriel byrne and peter coyote. it was nominated for two golden globe and several emmy awards, and won one for sound mixing. this miniseries was first aired on the cbs network over two consecutive nights during the spring of 1995.