Title: JOURNEY THROUGH ROSEBUD
Year of Release: 1972
Director: Tom Gries
Genre: Drama
Synopsis: A young Vietnam draft dodger traverses through an Indian Reservation in South Dakota, and indelibly affects the life of an American Indian man living in the Reservation.
Within a film history context: Films which explore the issues on Native Indian Reservations have been given prominence infrequently in cinema. One of the first, and most famous, films to deal with the conflict between settlers and American Indians is Delmer Daves' BROKEN ARROW (1950). Starring James Stewart as a man attempting to promote peace between settlers and Apache Indians, it was a film that moved away from traditional, one-sided scenarios of killing Indians and the other side emerging the victor, to a more sympathetic account of divisions between the two opposing parties. PILLARS OF THE SKY (1956), directed by George Marshall, was different in approach. This time around, the issue at point was the building of a road across the reservation, and the reaction that this provoked in tribal leaders. The 1960s, as with the 1950s, brought with them varied, and interesting interpretations of problems on Indian Reservations.
CHEYENNE AUTUMN (1964), helmed by John Ford, was an epic that concentrated on the Northern Cheyenne Exodus which took place from 1878 until 1879, detailing the relocation of American Indians from Cheyenne back to the their ancestral homes in Wyoming. A high-budgeted film that failed to make back its costs, it is nevertheless significant for its direction by the famous Mr Ford. Peter Tewksbury's STAY AWAY, JOE (1968) was a change of pace for the theme, a comedy-musical with Elvis Presley about an American Indian man assisting his people at the reservation. More exploitation-oriented in its treatment of the theme was THE SAVAGE SEVEN (1968), directed by Richard Rush. It was about bikers pushing their way into an Indian Reservation, and the consequences of this. Racier in nature and more violent than previous films which delved into the theme, it was mainly notable for Mr Rush's participation, and appearances from many well-known actors such as Robert Walker Jr. and Adam Roarke. JOURNEY THROUGH ROSEBUD was different again in its approach to the Indian Reservation premise, contributing another viewpoint on the subject.
It was a solemn consideration of issues relating to American Indian life and customs on the reservation, but without the violent and sensational content that marked previous films on this subject. The movie could be said to have more in common with BROKEN ARROW than other films in the treatment of its theme, and the sympathy which it affords its characters. Details such as the tribal dance, the community meetings about issues on the reservation, for example, are well-handled, and fascinating to witness. Unlike many of the films previously mentioned, though, the storyline was not as compelling in nature, this being JOURNEY THROUGH ROSEBUD's overriding weakness. The emotional involvement is hardly ever present, with the exception of Frank's trials and travails in the film, this being its strongest, and most memorable narrative element. A watchable but inconsistent film, JOURNEY THROUGH ROSEBUD should be commended for at least attempting to impart to audiences what life was like on Reservations in an impartial, and serious, manner.
Within a film history context: Films which explore the issues on Native Indian Reservations have been given prominence infrequently in cinema. One of the first, and most famous, films to deal with the conflict between settlers and American Indians is Delmer Daves' BROKEN ARROW (1950). Starring James Stewart as a man attempting to promote peace between settlers and Apache Indians, it was a film that moved away from traditional, one-sided scenarios of killing Indians and the other side emerging the victor, to a more sympathetic account of divisions between the two opposing parties. PILLARS OF THE SKY (1956), directed by George Marshall, was different in approach. This time around, the issue at point was the building of a road across the reservation, and the reaction that this provoked in tribal leaders. The 1960s, as with the 1950s, brought with them varied, and interesting interpretations of problems on Indian Reservations.
CHEYENNE AUTUMN (1964), helmed by John Ford, was an epic that concentrated on the Northern Cheyenne Exodus which took place from 1878 until 1879, detailing the relocation of American Indians from Cheyenne back to the their ancestral homes in Wyoming. A high-budgeted film that failed to make back its costs, it is nevertheless significant for its direction by the famous Mr Ford. Peter Tewksbury's STAY AWAY, JOE (1968) was a change of pace for the theme, a comedy-musical with Elvis Presley about an American Indian man assisting his people at the reservation. More exploitation-oriented in its treatment of the theme was THE SAVAGE SEVEN (1968), directed by Richard Rush. It was about bikers pushing their way into an Indian Reservation, and the consequences of this. Racier in nature and more violent than previous films which delved into the theme, it was mainly notable for Mr Rush's participation, and appearances from many well-known actors such as Robert Walker Jr. and Adam Roarke. JOURNEY THROUGH ROSEBUD was different again in its approach to the Indian Reservation premise, contributing another viewpoint on the subject.
It was a solemn consideration of issues relating to American Indian life and customs on the reservation, but without the violent and sensational content that marked previous films on this subject. The movie could be said to have more in common with BROKEN ARROW than other films in the treatment of its theme, and the sympathy which it affords its characters. Details such as the tribal dance, the community meetings about issues on the reservation, for example, are well-handled, and fascinating to witness. Unlike many of the films previously mentioned, though, the storyline was not as compelling in nature, this being JOURNEY THROUGH ROSEBUD's overriding weakness. The emotional involvement is hardly ever present, with the exception of Frank's trials and travails in the film, this being its strongest, and most memorable narrative element. A watchable but inconsistent film, JOURNEY THROUGH ROSEBUD should be commended for at least attempting to impart to audiences what life was like on Reservations in an impartial, and serious, manner.
Overview: Tom Gries was a director mainly active on television, but who was at the helm of fourteen motion pictures. His predominant focus was on action and adventure, with some forays into drama and romance genres over time. Mr Gries' first film, SERPENT ISLAND (1954) was an adventure-thriller about a woman seeking her great-grandfather's treasure, and is assisted by two men in this mission, with unexpected obstacles coming in the way. In HELL'S HORIZON (1955), he looked at the Korean War, specifically the soldiers of a bombing squad. From 1960 until 1967 he mainly worked in television, but returned to films in 1967 with WILL PENNY. The story of a cowboy who begins working on a farm, but discovers his abode already inhabited is one of Mr Gries' most famous works, starring Charlton Heston and Joan Hackett in the central roles. In another collaboration with Charlton Heston, Mr Gries directed him in NUMBER ONE (1969). The character study of an inebriate football player whose antics cause him much angst, it varied from the action/adventure films Mr Gries made until that time. The 1970s afforded Mr Gries further interesting opportunities with varied material, and he released seven more films before his untimely death in 1977.
THE HAWAIIANS (1970) was an epic film based upon James Michener's novel, once again starring Charlton Heston. A continuation of the 1966 film HAWAII, it charted the last parts of the novel, detailing what occurred when Japanese and Chinese populations entered Hawaii, and the consequences of this move. FOOLS (1970) was a change of pace for Mr Gries, this time tackling the romance between a married woman and her actor admirer. He also attempted crime themes in LADY ICE (1973), with an insurance man becoming involved with a young woman, but suspecting her of the theft of expensive jewels. Mr Gries notably directed Charles Bronson in the action-adventure BREAKOUT (1975), with Mr Bronson as a man hired to free an inmate in Mexico. Tom Gries' final film, THE GREATEST (1977), starred Muhammad Ali as himself in an exploration of his life. Largely panned upon first release, it featured a number of character actors such as Robert Duvall and Ernest Borgnine in supporting roles. JOURNEY THROUGH ROSEBUD, Mr Gries' tenth film, alas, was not one of his best endeavours.
While it was an earnest attempt to shed light upon the plight of Native Americans living on reserves, and the unique issues that they faced, JOURNEY THROUGH ROSEBUD was largely lacking in dramatic impetus which, regrettably, rendered the film lifeless. Mr Gries does well in charting the problems on Reserves and making these clear to the audience, but these are insufficient to make the film a more riveting experience. These parts of the film are almost documentary-like in nature, their staging excellent. If the movie removed the dramatic sections, and included a voice-over describing what was taking place, adding further scenes of American Indian life, it would have been a wonderful account of life at that point in time. The film, though, has fictional characters and situations, and these are the weakest aspects of JOURNEY THROUGH ROSEBUD.
The storyline is not involving, seeming like a loosely connected story added to string together the scenes of Indian life. There are not enough dramatic events to sustain viewer interest, the pace being slow, with not much of anything going on. Possibly this was deliberate as the film itself is of a more reflective nature than most, but this does not assist its cause. In addition to this, the characters do not exhibit real passion of any type to make them realistic, with the exception of Robert Forster's Frank. Things just happen in JOURNEY THROUGH ROSEBUD, but there is not much cause and effect, again the film's best moments of this involve Frank. The film, also, contains some unexplained situations that do not make sense, making it a frustrating movie at times.
Danny and Shirley fall into bed, and this precipitates Frank's tailspin, but, it is never explained why this occurred in the first place. They seem to have known each other for only ten seconds and it is only made more unbearable by the fact that the actors did not have any chemistry together. Frank and Shirley's relationship is not shown in more detail for the audience to understand why they drifted apart in the first place, thereby, clarifying the reason for her fling with Danny. If the film explained certain plot points more fully, tightening the film overall by increasing its pace, it would have been a much more compelling viewing experience. As it stands, JOURNEY THROUGH ROSEBUD is a film that could have been much better, but is a disappointing experience in retrospect, and not one of director Tom Gries' greatest efforts.
THE HAWAIIANS (1970) was an epic film based upon James Michener's novel, once again starring Charlton Heston. A continuation of the 1966 film HAWAII, it charted the last parts of the novel, detailing what occurred when Japanese and Chinese populations entered Hawaii, and the consequences of this move. FOOLS (1970) was a change of pace for Mr Gries, this time tackling the romance between a married woman and her actor admirer. He also attempted crime themes in LADY ICE (1973), with an insurance man becoming involved with a young woman, but suspecting her of the theft of expensive jewels. Mr Gries notably directed Charles Bronson in the action-adventure BREAKOUT (1975), with Mr Bronson as a man hired to free an inmate in Mexico. Tom Gries' final film, THE GREATEST (1977), starred Muhammad Ali as himself in an exploration of his life. Largely panned upon first release, it featured a number of character actors such as Robert Duvall and Ernest Borgnine in supporting roles. JOURNEY THROUGH ROSEBUD, Mr Gries' tenth film, alas, was not one of his best endeavours.
While it was an earnest attempt to shed light upon the plight of Native Americans living on reserves, and the unique issues that they faced, JOURNEY THROUGH ROSEBUD was largely lacking in dramatic impetus which, regrettably, rendered the film lifeless. Mr Gries does well in charting the problems on Reserves and making these clear to the audience, but these are insufficient to make the film a more riveting experience. These parts of the film are almost documentary-like in nature, their staging excellent. If the movie removed the dramatic sections, and included a voice-over describing what was taking place, adding further scenes of American Indian life, it would have been a wonderful account of life at that point in time. The film, though, has fictional characters and situations, and these are the weakest aspects of JOURNEY THROUGH ROSEBUD.
The storyline is not involving, seeming like a loosely connected story added to string together the scenes of Indian life. There are not enough dramatic events to sustain viewer interest, the pace being slow, with not much of anything going on. Possibly this was deliberate as the film itself is of a more reflective nature than most, but this does not assist its cause. In addition to this, the characters do not exhibit real passion of any type to make them realistic, with the exception of Robert Forster's Frank. Things just happen in JOURNEY THROUGH ROSEBUD, but there is not much cause and effect, again the film's best moments of this involve Frank. The film, also, contains some unexplained situations that do not make sense, making it a frustrating movie at times.
Danny and Shirley fall into bed, and this precipitates Frank's tailspin, but, it is never explained why this occurred in the first place. They seem to have known each other for only ten seconds and it is only made more unbearable by the fact that the actors did not have any chemistry together. Frank and Shirley's relationship is not shown in more detail for the audience to understand why they drifted apart in the first place, thereby, clarifying the reason for her fling with Danny. If the film explained certain plot points more fully, tightening the film overall by increasing its pace, it would have been a much more compelling viewing experience. As it stands, JOURNEY THROUGH ROSEBUD is a film that could have been much better, but is a disappointing experience in retrospect, and not one of director Tom Gries' greatest efforts.
Acting: The acting in JOURNEY THROUGH ROSEBUD is variable, mainly linked to the movie's indifferent storyline. For Kristoffer Tabori, in the leading role of Danny, this is not one of his best roles. While he tries hard to make more of his character than what the script calls for him to do, he is hampered by the film's general lackluster approach. This is in stark contrast for Mr Tabori, a genial, energetic personality, as witnessed by his excellent turn in 1971's MAKING IT. He is wasted here, as is Victoria Racimo as Shirley. She has an interesting screen presence, and an edge which the film does not utilize to full advantage. On the other hand, the film has the intriguing performance of Robert Forster as the introspective, bespectacled Frank. A good-looking actor who usually plays conceited, self-confident characters, here his acting is excellent, everything about it works, from his reticence, shows of bravado, to his latent vulnerability. There is just something intangible about Mr Forster's performance in this film which makes it JOURNEY THROUGH ROSEBUD's best, most true to life acting contribution.
Soundtrack: The opening music of JOURNEY THROUGH ROSEBUD is a contemplative piece, of which variations play through the film's running time, and is also replayed during the film's final credits. The movie itself does not have music apart from this, in line with 1970s films, which in many instances contained lean background musical scores.
Mise-en-scene: JOURNEY THROUGH ROSEBUD is a film in which the settings, and locales, provide it with a great authenticity. Several instances of these abound in the film that warrant discussion. Frank's rundown home, the farm on which the Indian music is played, and folk dances performed, the smoky saloon where the men in the town gather and drink together, to name a few examples, stand out, centring the characters, and their lives, in a realistic and atmospheric milieu. It is by far the best characteristic of the film, its verisimilitude something which remains with the viewer.
Award-worthy performances in my opinion: Robert Forster.
Award-worthy performances in my opinion: Robert Forster.
Suitability for young viewers: No. Infrequent low-level coarse language, adult themes, medium-level violence.
Overall Grade: D
Link: IMDB Page
Movie Excerpt
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