In the Land of the Head Hunters

Plot

In the Land of the Head Hunters follows the story of Motana, the son of a Kwakwaka'wakw chief, who seeks to marry Naida, the beautiful daughter of a sorcerer. To prove his worthiness, Motana must undertake a dangerous quest to slay the feared sea monster, the Gonakadet. After successfully completing this task and marrying Naida, Motana's village is attacked by a rival tribe, leading to his capture and enslavement. Through his courage and the help of supernatural forces, Motana eventually escapes and returns to reclaim his bride and restore honor to his people. The film combines elements of romance, adventure, and traditional Kwakwaka'wakw mythology, showcasing ceremonial dances, totem pole carving, and other cultural practices.

Historical Background

In 1914, when this film was made, Native American and First Nations peoples were facing intense pressure to assimilate into mainstream North American society. In Canada, the potlatch ceremony—a central part of Kwakwaka'wakw culture—had been banned since 1885 as part of government efforts to suppress indigenous traditions. The film industry itself was still in its infancy, with feature films only recently becoming common. Ethnographic filmmaking was virtually nonexistent, and most representations of Native peoples in popular media were stereotypical and often played by white actors in makeup. Curtis's work represented a radical departure from these practices, though it still reflected the paternalistic attitudes of the time, viewing indigenous cultures as vanishing and needing preservation. The film emerged during a period of renewed interest in Native American cultures among some segments of white society, even as government policies continued to suppress indigenous practices.

Making Of

Edward S. Curtis approached filmmaking as an extension of his ethnographic work, aiming to preserve what he believed were the disappearing cultures of Native Americans. He spent considerable time living with the Kwakwaka'wakw people, documenting their daily lives and ceremonies. The production was a collaborative effort between Curtis and the Kwakwaka'wakw community, who provided authentic costumes, props, and cultural knowledge. Many of the ceremonial objects and regalia used in the film were actual sacred items that had been preserved by families despite government bans. The filming process itself was arduous, requiring the crew to transport equipment by canoe to remote coastal villages. Curtis encouraged the revival of traditional practices that had been suppressed, including potlatch ceremonies that were illegal under Canadian law at the time. The Kwakwaka'wakw participants saw the film as an opportunity to preserve their cultural heritage and share it with the world.

Visual Style

The cinematography of In the Land of the Head Hunters is remarkable for its time, featuring stunning location photography in the coastal wilderness of British Columbia. Curtis applied his photographic eye to the moving image, creating carefully composed shots that highlight both the natural beauty of the landscape and the intricate details of Kwakwaka'wakw ceremonial regalia. The film makes effective use of the coastal setting, with dramatic shots of war canoes against mountain backdrops and scenes filmed on the open water. Curtis employed innovative techniques for the period, including underwater photography for scenes involving the sea monster. The original film included color tinting for certain scenes, particularly those involving supernatural elements, adding visual interest to the otherwise black and white footage. The restored version reveals the sophistication of the cinematography, with shots that demonstrate a sophisticated understanding of visual storytelling.

Innovations

In the Land of the Head Hunters featured several technical innovations for its time. Curtis employed the latest camera equipment available in 1914, allowing for location filming in challenging coastal environments. The production utilized special effects techniques to create the sea monster sequence, including underwater photography and mechanical props. The film's use of authentic locations rather than studio sets was unusual for a feature of this period. The original 35mm nitrate film stock was fragile, making the survival of any footage remarkable. The 2013 digital restoration used state-of-the-art technology to repair damage, stabilize the image, and enhance the surviving footage while preserving the visual character of the original. This restoration represents a significant achievement in film preservation, demonstrating how modern technology can rescue and restore historically important works from the silent era.

Music

As a silent film, In the Land of the Head Hunters was originally accompanied by live musical performances during screenings. The original score has been lost, but it likely incorporated popular musical cues of the silent era. For the 1973 re-release under the title 'In the Land of the War Canoes,' a new musical score was composed by John J. B. Kelly and performed by the Kwakwaka'wakw group 'Ksan.' The 2013 restoration features a new musical score composed by Timothy Brock, which incorporates traditional Kwakwaka'wakw music and instruments alongside classical orchestration. This contemporary score attempts to bridge the gap between Curtis's early 20th-century sensibilities and modern appreciation for indigenous musical traditions. The soundtrack for the restoration includes field recordings of authentic Kwakwaka'wakw songs and chants, providing cultural context for the visual elements of the film.

Memorable Scenes

• The dramatic sea monster sequence where Motana battles the Gonakadet, featuring innovative underwater photography and mechanical effects for the period.
• The elaborate potlatch ceremony showcasing authentic Kwakwaka'wakw dances, songs, and ceremonial regalia that had been banned by the Canadian government.
• The war canoe scenes with multiple canoes navigating the coastal waters of British Columbia, demonstrating traditional maritime skills.
• The totem pole carving sequence showing traditional techniques and designs, providing rare documentation of this cultural practice.
• The climactic battle scene between rival tribes, featuring authentic weapons and combat techniques from Kwakwaka'wakw tradition.

What Critics Said

Contemporary reviews of the film were mixed, with many critics praising its visual beauty and exotic subject matter while questioning its authenticity and dramatic structure. The New York Times noted its 'picturesque qualities' but found the plot 'somewhat confusing.' Modern critics have reevaluated the film more favorably, recognizing its historical importance despite its ethnographic limitations. The 2013 restoration received widespread acclaim, with critics noting how the film transcends its ethnographic origins to create a visually stunning work of art. Scholars have highlighted the film's complex position between documentary and fiction, authentic performance and staged spectacle. While Curtis's romanticized vision and cultural misunderstandings have been criticized, the film's visual power and historical significance are now widely acknowledged.

What Audiences Thought

Initial audience reception in 1914 was modest, as the film struggled to find commercial success despite its unique subject matter. Many viewers were drawn to its exotic imagery and authentic portrayal of Native American life, which differed dramatically from the stereotypical representations common in Hollywood films of the era. The film found more success in educational and anthropological circles than with general audiences. Following its rediscovery and restoration in the 21st century, the film has found new audiences among film enthusiasts, historians, and indigenous communities. Modern screenings, particularly those accompanied by live performances of traditional Kwakwaka'wakw music, have been well received, with audiences appreciating both the film's historical significance and its visual artistry.

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