Comata, the Sioux

Plot

Comata, the Sioux tells the tragic tale of Comata, a devoted Sioux brave who loves Clear Eyes, the daughter of Chief Thunder Cloud. Despite Comata's unwavering affection, Clear Eyes falls under the spell of Bud Watkins, a persuasive white cowboy who convinces her to abandon her mountain home and tribal life to become his wife. For two years, Clear Eyes lives happily with Bud, even bearing him a child, but Bud eventually grows restless and begins courting Nellie Howe, a white woman unaware of his existing family. Comata, who has faithfully watched Bud's movements, discovers the betrayal and vows to avenge Clear Eyes' broken heart, ultimately confronting Bud and revealing the devastating truth to the heartbroken Native woman.

Historical Background

1909 was a transformative year in American cinema, marking the transition from simple novelty films to more sophisticated narrative storytelling. The film industry was consolidating around production companies like Biograph, which were churning out shorts to feed the growing network of nickelodeons across America. D.W. Griffith was at the forefront of this cinematic revolution, developing techniques that would define film language for decades to come. The portrayal of Native Americans in popular culture reflected the prevailing 'vanishing race' narrative that dominated American consciousness, even as real indigenous peoples continued to struggle for survival and rights. This period also saw the beginning of the film industry's westward migration, though major production centers remained firmly entrenched on the East Coast. The film's themes of cultural conflict and interracial relationships touched on real social tensions, even as its treatment of these issues was filtered through the limited perspectives of its time.

Making Of

The production of 'Comata, the Sioux' took place during a crucial period in D.W. Griffith's career when he was rapidly developing his directorial voice and cinematic techniques. Working at Biograph's studios in Fort Lee, New Jersey, and New York City, Griffith was experimenting with narrative structure, cross-cutting, and character development that would later become hallmarks of his filmmaking. The casting process reflected the industry's limited approach to racial representation, with white actors donning makeup and costumes to portray Native American characters. The film was likely shot over just two days, as was typical for Biograph's efficient production schedule. Griffith worked closely with his regular cinematographers, possibly G.W. Bitzer or Arthur Marvin, to create the visual style. The minimal budget meant that sets and props had to be reused across multiple productions, with creative lighting and camera angles providing variety. The actors, many of whom were part of Griffith's regular stock company, would have had significant input into their performances given the limited scripts of the era.

Visual Style

The cinematography of 'Comata, the Sioux' reflects the technical standards and artistic conventions of 1909. The film was likely shot by Biograph's regular cinematographers such as G.W. Bitzer or Arthur Marvin, who were pioneers in the field. The visual style would have been characterized by static camera positions mounted on tripods, as camera movement was still in its infancy. The film was probably shot on Biograph's proprietary 68mm film stock, which produced exceptionally clear images but was soon abandoned in favor of the more economical 35mm format. The lighting would have relied primarily on natural light for exterior scenes and artificial illumination for studio interiors, creating a high-contrast black and white aesthetic. Griffith was beginning to experiment with different shot sizes and camera angles during this period, though the film would still rely heavily on the medium shots and long shots that dominated early cinema.

Innovations

While 'Comata, the Sioux' does not represent a major technical breakthrough, it reflects the ongoing development of film technology and technique in 1909. The film was shot at approximately 16 frames per second, the standard speed for silent films of this era. The American Mutoscope and Biograph Company had been a pioneer in film technology, and their productions of this period benefited from years of technical refinement. The film likely employed continuity editing techniques that Griffith was helping to perfect, including the use of cross-cutting to build dramatic tension. The combination of location shooting with studio work demonstrated the increasing sophistication of film production methods. The film's survival, if it exists, is due in part to the relative durability of early film stocks, though many films from this period have been lost to nitrate decomposition.

Music

As a silent film, 'Comata, the Sioux' would have been accompanied by live musical performance during its theatrical exhibition. The specific musical selections would have varied by venue, with larger theaters employing orchestras and smaller nickelodeons using pianists or organists. Biograph sometimes provided musical cue sheets with their films, suggesting appropriate pieces for different scenes. The emotional nature of the story would have required dramatic musical accompaniment, particularly during scenes of romance, betrayal, and confrontation. The musical conventions for depicting Native American characters in 1909 typically included stereotypical motifs that reflected contemporary cultural attitudes rather than authentic indigenous music. Popular songs of the era, classical pieces, and original compositions might all have been part of the film's musical accompaniment.

Memorable Scenes

• The pivotal moment when Comata discovers Bud's betrayal while secretly observing him with Nellie Howe
• Clear Eyes' emotional decision to leave her tribe and mountain home for Bud Watkins
• The dramatic confrontation where Comata reveals Bud's infidelity to the heartbroken Clear Eyes
• The opening scenes establishing Comata's deep love for Clear Eyes and his place in the Sioux tribe

What Critics Said

Contemporary critical reception of 'Comata, the Sioux' is difficult to document due to the limited film criticism infrastructure in 1909. The trade publications of the era, such as The Moving Picture World and The New York Dramatic Mirror, focused more on business news than artistic criticism. Modern film historians generally view the work as a typical example of Griffith's Biograph period rather than a standout achievement. The film is rarely mentioned in comprehensive studies of Griffith's career, which tend to focus on his more technically innovative or socially significant works. Current scholarship often examines the film primarily through the lens of racial representation in early cinema rather than its artistic merits. The film's uncertain survival status has also limited its critical reception, as few scholars have had the opportunity to view it firsthand.

What Audiences Thought

Audience reception in 1909 is challenging to reconstruct due to the lack of systematic audience research during the nickelodeon era. The film's dramatic themes of love, betrayal, and cultural conflict likely appealed to contemporary audiences who were drawn to emotional storytelling. The depiction of Native Americans, while stereotypical, would have resonated with the popular fascination with the 'vanishing West' that dominated American culture. The film's relatively short running time made it suitable for the varied programming of nickelodeons, where it would have been shown alongside comedies, travelogues, and other dramatic shorts. The tragic elements of the story would have appealed to the melodramatic tastes of early cinema audiences, who were accustomed to stories with clear moral divisions and emotional climaxes.

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