I am going to avoid the “news” for a while and watch some movies over the next month. First I want to say that I have noticed that a lot of boutique video distributors have been releasing on Blu-ray a great many obscure horror films from here and abroad that would seem only of interest to fanatics of the genre. On the other hand, a few major studio films have incomprehensibly not yet seen an official DVD/Blu-ray release, only poor quality bootlegs. Of course videophiles will point to Looking For Mr. Goodbar as being in that category; while I don’t expect to see a legitimate release in my lifetime, happily back in January TCM.com briefly exposed the film to the light of day in a “true crime” movie series, and a few intrepid folks recorded it for posterity in 1080p webrips.
Although it is clear that Paramount made no effort to restore the film print used in HD, it may be the best the film will ever look, since even Criterion and Shout Factory have tried and failed to obtain a license for it. So I am going to add it to my list of films to revisit and discover what made it “controversial” back then, and still too “hot” to handle today in a world where—as we saw in the Depp trial—the mainstream media continues to spare no effort to protect certain people from exposure of their sins.
But for now I want to watch a film I’m sure hardly anyone has ever seen—let alone heard of—called Don’t Touch the White Woman. Before anyone gets too upset about that, the title is just a phrase used in the film a couple of times among many that underline white supremacy and the prejudice against, and status of, Native Americans as “savages” throughout most of American history. The second thing to know is that this is the French/Italian contribution to the “revisionist” history during the late Sixties and early Seventies concerning relations between whites and Native Americans.
Thirdly, the film is itself a more savage than most indictment of that
history, which many American viewers then as today consider “unfair” and
“untrue.” The film is also not a "war" movie and what action there is, isn't particularly well executed and merely incidental to the plot. Don't is essentially a sociopolitical tract and a satire of the "philosophy" of Western imperialism; if you understand that going into it, you might like it better than those who were expecting something else, despite the warning given by the film's title.
Directed by Marco Ferreri (best known for La Grande Bouffe) and starring a host of well-known European actors,
it spares no effort to poke fun at the worst of human nature, and uses Custer’s
“last stand” to symbolize at least in one case the just result of white arrogance,
and the failure to see “savages” as fellow human beings capable of acting in
their own defense. Of course we saw this in Little
Big Man, but unlike that film there are no “good” white people in Don’t to cheer for or feel some kind of connection with that doesn't convict themselves in their crimes.
The film opens with a pan across a mural which appears to depict scenes of white interaction with the Indians (an American flag is seen), as well as a train passing by, presumably symbolizing the expansion of "manifest destiny":
Next we see a group of businessmen complaining about the lack of "progress" and the economy being at a "standstill":
Who is responsible for this? "Those little rascals--these thieves, liars, hypocrites, murderers, vulgar non-believers," all listened to with mild contempt by an anthropology professor who serves as an "advisor":
It is their fault for trying to integrate "them" into "civilized" society and make "human beings" of "them," because they are "anarchists"--or do they mean "savages"? It should be clear they are speaking of Native Americans. They do not respect the concept of "private property," and how it is "beneficial," and don't understand the "selfish principles" that were given to human nature by "divine providence":
The professor is then asked to leave because the conversation is "confidential." What to do? "Gentleman, I think it is time we do away with these sub-humans so that our race can accomplish without delay the mission that was entrusted to us: conquer this continent and establish civilization here..We need to respond to the resistance of these miserable people with determined and aggressive action"--meaning their "annihilation":
But they must not underestimate the power of the press--remember Watergate (this film was made in 1974). They must be "discrete"; who to entrust this mission to?
General Terry (Phillipe Noiret). The general is proud to serve his country in another campaign, pointing to the president's "magnetic eyes":
Gen. Terry is told that he should conduct the operations but command in the field should be given to a "less important" man. To persuade the general not to seek personal “glory” for this “strange operation,” the businessmen offer railway bonds as a wedding gift for his daughter. So who do they suggest to take command on the field? George Custer. The “boy general?” But he is a “legend” and the country will rally behind him. Gen. Terry needs to think about this…
…but comes around when presented with the golden railway spikes that will be used for inauguration ceremonies that he will be feted at once the land is cleared of the natives:
Meanwhile, Sitting Bull (Alain Cuny) in sitting in a huge, empty pit (actually the site of a massive urban renewal project in Paris at the time) signifying the kind of land Native Americans were given as reservations...
...being castigated by the "Fool," (Serge Reggiani)...
...for signing peace treaties that the whites wipe their asses with. Sitting Bull insists that this is the soldiers out of control, and the "wise President Nixon" is their friend, before qualifying it with "I hope":
He is reminded that the white man "devastated our fields, cut down our forests and exterminated our game. Sitting Bull may believe in "peace," but for the white man it just means preparing for another war:
At the train station, Custer's officers await his arrival...
...but Custer (Marcello Mastroianni) is delayed by the loss of his comb, which he takes to every battle:
Later, it is being explained to Custer by his brother (and fellow soldier) that corners had to be cut in horse feed and the soldiers' rations in order to pay him for his services:
Then we see Custer preening before a mirror, clearly indicating a vain, shallow individual:
After he is done with that, we see him on horseback riding down the streets of modern Paris, to the befuddled gaze of onlookers, who are not "extras."
Custer encounters some soldiers taking a break at a cafe; they are not soldiers, they are scoundrels:
All this is observed by Custer's former Indian scout, Mitch (Ugo Tognazzi), who has made an effort to "assimilate" in the white world, and runs what appears to be a Western apparel store with his wife and son:
Of course, "assimilation" doesn't necessarily mean "equality" with the white man. Walking outside just makes him a target for a tomato to the amusement of bystanders:
Still, "family life" is over, and he must retrieve his old cavalry coat. Custer finds the rest of his soldiers lounging around in a park, some of them out of uniform and all of them clearly suffering from lack of work and discipline:
Mitch arrives and grovels before Custer, which seems to please him:
As Custer leaves the troop, Mitch warns him not to step on the "shit." Custer orders a random soldier to move forward and "lick up" the shit; the soldier protests that it isn't his "shit," but his sergeant forces him to do it; Custer tells Mitch not to look because Indians are not allowed to witness a white man's punishment:
We then get a bird's eye view of the pit that the Indians are squatting in after abandoning their even worse reservation. The irony of course is that as previously mentioned, the pit was dug as an "urban renewal" project, in which new residential and commercial buildings were to be built; whoever was "living" there would have to be removed--much as the Indians faced frequent "removal":
Custer and Gen. Terry meet:
This is Marie-Hélène (Catherine Deneuve), and we learn that they both don't mind going to the opera:
Mitch, however, has a military matter to discuss with him: he warns Custer that he's seen a lot of Indians around:
Later, Gen. Terry complains about the Indians squatting in those buildings subject to the wrecking ball, not seeming to realize they have no place to go. But that's "progress":
Mitch calls out some gibberish that is supposed to be some Native language:
Sitting Bull says it is just that "shithead Mitch" with that "asshole Custer":
The Gen. Terry is, however, concerned about all these new Indians who don't belong there. That evening Custer is forced to go to a night club where he is forced to meet with a "power player"--Buffalo Bill (Michel Piccoli), who is on stage bragging about all the buffalo he's killed:
Custer calls him "Buffalo Buffoon," while Mitch calls out to him that he will wait for orders while ingratiating himself with one of Bill's showgirls:
Custer warns him "Don't touch the white woman." Buffalo Bill, who doesn't care for Custer either, is persuaded to announce him...
...and meeting with Marie-Hélène, Custer acknowledges that Major Reno isn't drunk on duty this time:
Tiring of Bill's boasting, Custer leaves, but stops to admire the height of a West Point cadet:
The following day, while a sad song is sung in the background, Marie-Hélène tells her sad story to explain why she became a nurse to serve "the cause":
Meanwhile, old men, women and children are being rounded-up by laughing soldiers...
...and forced inside this smokestack to play a little "game"...
...and a soldier throws a lighted torch inside of it...
...as the smokestack comes crashing down amidst the cries of the victims inside of it:
Two witnesses inform Sitting Bull as to what occurred, and there is no more doubts in his mind--it is war. He will summon all the chiefs from the local tribes:
Blood is shed when an Indian shoots down one the soldiers responsible for the massacre:
Custer oversees the hanging of Indians picked at random and who had no part in the killing of the soldier:
Sitting Bull is angered by a posted sign that says "Danger: Indians"...
...and the fool is allowed to speak, advising "collective action":
The chiefs from the other tribes have gathered, and agree to buy guns and fight back:
The anthropologist, who secretly sympathizes with the Indians, sees that they are banding together. Laughing, he convinces a soldier to decapitate one of the hanged Indians and throw it down into the pit to goad them Indians even more, which is what happens when the Fool retrieves the head and presents it to Sitting Bull:
While he advises they wait, one of the young men insists they attack now. Meanwhile, oblivious to the Indians' plans, Mitch oversees the Indians who work in his sweatshop, threatening to hand them over to the soldiers if they don't work harder:
Marie-Hélène--whose mother was a descendant of one of the original Mayflower settlers--doesn't understand the Indians' attitude, since this land was given to the whites by God to settle in:
Custer explains that they are "savages" and don't know better. Marie-Hélène admires all the "stars" that have fallen to earth, not realizing that they are the gathering Indians with torches:
While a balladeer apparently has been accompanying them everywhere to underscore their romance...
...Mitch is ordered to find out what is going on, and is told "Screw you!" by those below:
While Custer thinks the bodies of the hanged Indians should be "preserved," he takes the time to remind Mitch that Champaign is only for white people:
Later at his sweatshop, Mitch poses as Custer and expresses his contempt for him and the white man's prejudices, and says he can touch a white woman if he pleases:
Later, the anthropologist informs Custer that there is an "exhibition" at the Indian School...
...where Marie-Hélène is assisting in the "embalming" of the Indians who were hanged:
When one of the Indian mother's asks them what they are doing in the school, Marie-Hélène informs her that this is no longer their school, that it is being "occupied"--but they can stay and watch if they like. Taking one of the Indian girls, she warns her that this happens to "mean" Indians:
The embalming technique with newspapers is explained to Custer:
Even though we have just learned that Custer has a wife, Marie-Hélène is very smitten with Custer's fame, and more:
Of course the self-promoting Buffalo Bill has to show up for a photo-op:
Later, Gen. Terry muses on the uses of the Gatlin Gun:
Custer demands that Buffalo Bill not be part of the campaign, because he is just a buffoon. The general agrees with him, but the politician explains to him that killing all the Indians is unpopular here and abroad, and Buffalo Bill is being paid to provide positive publicity for the endeavor:
In a "confidential" matter, the general express discomfort that his daughter is having "relations" with Major Reno, who he fears may pass on a venereal disease to her. Observing more Indians gathering in the pit, he invites Custer to a meeting with Sitting Bull, although admitting that war is inevitable and stiffens Custer's mettle by reminding him of all the "glory" he will receive, which seems to do more than that:
At the meeting, Gen. Terry expresses disappointment that Sitting Bull didn't give a gift of moccasins for his daughter, but Sitting Bull says he has nothing to give:
Custer then expresses the sentiments of President Nixon, who wishes to know why the Indians left their reservation and are occupying the pit. Sitting Bull responds by pointing out the white man broke his treaty with the Indians and provided them with nothing on the reservations:
Custer is impatient with this talk, telling Sitting Bull that this isn't a "proper answer." The General informs Sitting Bull since he refuses to return to the reservation, he is responsible for the fate of his people:
When they leave, Sitting Bull tells those present "Fetch my horse."
Back in town, Custer's book of "poetry" is selling in a shop, one copy purchased by a soldier moving robotically, perhaps indicating he didn't buy it out of personal interest:
Marie-Hélène has of course already read the book with the expected response:
Of course Buffalo Bill has to butt in on Custer's party, hawking his own "autobiography":
Bill also has a "gift" for the Indian Affairs Representative:
That night in the pit, Marie-Hélène expresses admiration for Custer's speeches, and he confesses that he has been approached by "influential people" to run for president, which of course has the expected response from Marie-Hélène:
The next day Gen. Terry shows off a new cannon to his employers...
...and then announces the battle plan, which Custer may or may not abide by, given his desire for personal glory:
Meanwhile, Mitch spies on Sitting Bull going to a gun shop...
After that, he visits the Fool, admiring the "good president" on his pants:
Mitch tells the Fool that Custer will be wearing a beige uniform, so he will be easy to spot. Why does he want Custer dead? Because he treats him like an "Indian":
While Custer is at the beauty salon, Mitch presents him his battle uniform, which suspiciously includes a bullseye over where his heart would be:
The Fool informs Sitting Bull that their plan is working, that Indians are coming even from Mexico, and this time they will be slaughtering their oppressors:
At a pre-battle banquet, Marie-Hélène becomes faint at the notion of sacrificing her "virtue" to Custer...
... which she more than willingly succumbs to anyways:
Buffalo Bill brings his carnival act to the battlefield...
...parades in front of the soldiers...
...but then loses his health--or more likely his nerve--and leaves the battlefield:
A hot air balloon is prepared for the people bankrolling this affair can watch:
After being warned by Gen. Terry not to attack the Indians until Crook and Gibbons arrive with their troops, Custer leads his troops forward...
Custer becomes impatient with waiting around with so many Indians to kill and glory to be had...
...while the Fool points out to Sitting Bull how to spot Custer:
Marie-Hélène exalts in the notion that she and Custer will be "together forever"...
...but an arrow from an Indian's bow has other plans for them:
Sitting Bull tells Custer "It's over for you"...
...and the fight is on, with Custer no longer waiting for the rest the Army to arrive:
Of course we know how this is going to turn out, with Custer's brother killed...
...the embalmer of Indians taking care of his own embalming...
...the old man taking aim at Custer...
...and the women scavenging what they can find:
Mitch "touches the white woman," which in some parts of the world was the worst crime a non-white man could commit...
...and the businessmen are not interested in retrieving her body--"let her rot":
Informed by carrier pigeon of what has happened, Gen. Terry discovers through his binoculars...
...that the Indians are now free to leave the pit and "invade" the city...
...as the camera pans for an overhead shot of the pit and the surrounding cityscape:
First of all, we have seen revisionist history in regard to white-Native American relations before, but nothing quite like this. The filmmakers clearly feel perfectly at ease excoriating Americans, since, after all, they are known for their excesses. A bit hypocritical given Europe's history of imperialism? Probably. But on the other hand, what is said about the culture in which all this occurred is certainly true, and no American film has dared to be as brutally honest about the Anglo-American attitude toward "inferior" peoples. Somebody had to tell the "truth," and that is probably why what few American critiques of the film are negative, because they don't care for the message or the messenger.
Personally, I think the film is a powerful indictment of American "exceptionalism" and corporate culture. No prisoners are taken, there are no "good" white people here. Everyone is perfectly honest about their selfish motivations, and the line between white supremacy and white nationalism are easily crossed and usually indistinguishable. Their own words convict them. They took almost everything from Native Americans except a handful of dirt. As Tonto would say, "Bad trade":
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