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Great Plains Quarterly Great Plains Studies, Center for

1996

REVIEW ESSAY:The Way West Written and directed by Ric Burns

Martin Blythe University of Helsinki

Mia Graeffe University of Helsinki

Sanna Heinsalo University of Helsinki

Ossi Heinänen University of Helsinki

Ari Helo University of Helsinki

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Blythe, Martin; Graeffe, Mia; Heinsalo, Sanna; Heinänen, Ossi; Helo, Ari; Hirvinen, Kari; Kiviniemi, Piia; Ruus, Vello; Wright, John; and Wunder, John R., "REVIEW ESSAY:The Way West Written and directed by Ric Burns" (1996). Great Plains Quarterly. 1084. https://digitalcommons.unl.edu/greatplainsquarterly/1084

This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Authors Martin Blythe, Mia Graeffe, Sanna Heinsalo, Ossi Heinänen, Ari Helo, Kari Hirvinen, Piia Kiviniemi, Vello Ruus, John Wright, and John R. Wunder

This article is available at DigitalCommons@University of Nebraska - Lincoln: https://digitalcommons.unl.edu/ greatplainsquarterly/1084 REVIEW ESSAY

The Way West: EpisodeI, Westward, the Course of Empire Takes Its Way, 1845-1864; Episode II, The Approach of Civilization, 1865-1869; Episode III, The War for the Black Hills, 1870-1876; Episode IV, Ghost Dance, 1877-1893. Written and directed by Ric Burns. Produced by Lisa Ades and Ric Burns. Introductory remarks by David McCollough. Production for The American Experience, Channel Four Television (Great Britain). Boston: WGBH Educational Foundation and Steeple­ chase Films, 1995.6 hours; 90 minutes per episode. $69.95.

The Way West, scripted and directed by Americans and the losers are the American Ric Burns, is advertised as the story of United Indians. McCullough then mispronouces the States expansion into the American West from name of an important Plains nation, the 1845 to 1893. Burns sets the series' temporal Kiowas, perhaps symbolic of what is to follow. boundaries arbitrarily from a New York editor's The first episode establishes a disturbing first use of the term "manifest destiny" in 1845 scholarly laxness. For example, although quo­ to Frederick Jackson Turner's 1893 address on tations punctuate the narrative, only intially the significance of the frontier and his an­ are they carefully documented with author and nouncement of its close. The documentary's date. Soon dates disappear. Eventually even episodes actually focus on the struggle for con­ the authors or sources are omitted as well. We trol of the Great Plains, pitting the U.S. Army hear about the 1845 New York newspaper edi­ against the Sioux nation and its allies. Largely torial on manifest destiny without any cogent forsaking the challenge of providing a sure analysis of its meaning; then Americans sud­ overview of who the Native peoples of the denly explode westward in 1846, the narrator Plains and the West were, or of what sorts of intoning, "The most troubling and transfor­ people took their land as settlers, the series mative period in American history had be­ instead offers descriptions-at times in pro­ gun." We see footage of a train that could not longed detail-of some of the classic battles possibly have been taken during the era the and massacres of Great Plains history. In short, documentary covers. We hear a Tecumseh it is Old Western History with a twist: the quote over images of Plains Indian tipis and addition of Indian perspectives to the story. buffalo. The script tells us that by 1843 the Introduced by David McCullough and nar­ Indian frontier-whatever that is-is crum­ rated by Russell Baker, The Way West is di­ bling. Weare told that by 1840 all eastern vided into four ninety-minute programs. The tribes had been subdued, annihilated, or re­ first, Westward, The Course of Empire Takes Its moved. By 1846 Mormons are in the West. Way, 1845-1864, borrowing its title from the The United States forces England to cede Emmanuel Leutze mural in the United States Oregon; the Mexican Cession occurs in half a Capitol, opens with McCullough establishing sentence. Neither the Lewis and Clark Expe­ the series' subject: the migration of Ameri­ dition nor even the Louisiana Purchase re­ cans from the East to the West during an era ceives any mention. An empire is sort of of "American triumph and a haunting Ameri­ "taking its way." can tragedy." It is "an epic story about the Ric Burns interjects experts' observations bright promise and dark sorrow of the Ameri­ throughout the narration, some-such as can dream." The cliched expression of this those of Robert Utley, Alvin Josephy, Jr., duality is repeated frequently in the phrase, Michael Her Many Horses, and Charlotte "how the West was won and lost." There are Black Elk-to rich effect. Charlotte Black Elk winners and losers. The winners are the white notes the fundamental differences between

287 288 GREAT PLAINS QUARTERLY. FALL 1996 the origin beliefs of Plains Indians and Chris­ Colorado. The discussion of these bitter tians and between Indian and European un­ events is generally accurate, and the visuals derstandings of people's relationship to land. are impressive. Setting the stage for the next Countering her thoughtful explanation of dif­ episodes, Westward, the Course of Empire Takes fering world views, Burns gives us Ian Frazier, Its Way explains the impact the Homestead whose uninformed statements, including his Act and the Pacific Railroad Act would have notion that the Cheyennes during this era on the West, personalizing the story to in­ camped from Canada to the Rio Grande, mov­ clude three whites, army officers William T. ing to and fro depending upon the weather, Sherman, Philip Sheridan, and George undermine the documentary's reliability. Armstrong Custer, and three Sioux leaders, Stephen Ambrose offers a variety of dubious Red Cloud, Sitting Bull, and Crazy Horse. comments, claiming for instance that Indians The second episode treats five years of Great had more freedom than had ever been known Plains history, laying the groundwork for the before in human history, and that neither ge­ battle of the Little Big Horn in Episode III. ography nor their own political institutions We see the building of the transcontinental exerted any restraints on Plains Indians. railroad, several Sioux-U.S. Army skirmishes, Why this disparity among the experts? The and a sampling of atrocities. One sequence white authorities are mostly free lance writ­ offers a pair of bizarre discussions. We witness ers, not experts in the history of the American first a gruesomely mutilated Englishman fight­ West or directly involved in current historio­ ing in the American army. The camera swings graphical debates in Western history. Only slowly over his nude body, revealing the cuts Utley and Josephy are recognized authorities to his arms, legs, and genitals, as well as his who have spent their professional lives in the missing scalp, the narrator meanwhile explain­ field of Western history, Utley primarily in ing how each slash was made and by whom. Western military history and Josephy in In­ Next we are served an amazing comparison of dian-United States relations. At the project's the railroad and buffalo, the narrator claiming inception, Burns consulted several Western that the railroad was to whites what the buf­ historians who read and criticized the script, falo was to Indians: a "condition oflife." While which was then revised and rewritten. The the railroad's practical and symbolic signifi­ consulted experts, however, make no appear­ cance for non-Indian Americans was certainl y ances and go unacknowledged. At the end of enormous, the buffalo was Plains Indians' sus­ this first episode and all the others in this tenance. That the railroad's completion would series about "conquest," only Patricia Nelson seal the Indians' fate is frequently stated, Limerick among Western historians is cred­ though thinly documented. The story of the ited with assistance, and even she, the articu­ destruction of the buffalo receives a much more late author of The Legacy of Conquest, makes thorough telling. no appearance on screen. The four native The Approach of Civiliation contains sev­ voices, Charlotte Black Elk, Michael Her eral examples of skewed history. While treat­ Many Horses, Mardell Plainfeather, and Marie ments of the social dimensions of westward Not Help Him, usually offer careful, personal­ migration and Plains Indian social life are slim ized observations on specific events and avoid or entirely absent, we are told that white rash generalizations. settlement on the Plains along the new rail­ Episode I, the story of American acquisi­ road brought vices. Banality shifts to hyper­ tion of western lands, concludes with sig­ bole as the narrator assures us there "was not nificant footage and commentary devoted to a virtuous woman west of Cheyenne." Novel­ explaining the Santee Sioux resistance in ist Thomas McGuane asserts that the rail­ Minnesota and the Sand Creek Massacre of road "housebroke" the West, "tamed" being Cheyennes and Arapahoes in southeastern too tame a word. REVIEW ESSAY 289

The episode achieves stature in its render­ cause, Frazier intuits, Crazy Horse always did ing and assessment of the actions of Red Cloud as he saw fit. Finally, Stephen Ambrose would on behalf of his Sioux nation. Important dis­ have us believe that Custer and Crazy Horse cussion about the Fort Laramie treaties and were actually very much alike: both were great the role of Red Cloud in Siouan-American riders, both loved to hunt, both loved the relationships is allowed to unfold with care, Plains. the episode concluding with a thoughtful An obvious thought surely should have treatment of Custer and his attack on Chey­ grazed Ric Burns's mind: Are there no Sioux ennes and Arapahoes at the Washita River in to comment on Crazy Horse at this point in Kansas. Experts unable to agree on an inter­ the narrative? Moreover, can one imagine a pretation of this well-known confrontation documentary on World War II offering ex­ show how history is susceptible to rational dis­ perts seriously pondering the resemblance be­ agreements. tween Adolf Hitler and Dwight Eisenhower? Episode III, The War for the Black Hills, These are moments that shake one's faith in brings the documentary to what appears to be the integrity of the documentary enterprise. its main goal: a recreation and interpretation After a jarring sequence that suddenly veers of the battle of the Little Big Horn. The battle, to the southern Plains and quotes from Satanta, described in overwhelmingly dramatic tones­ then back north to the Northern Pacific Rail­ "What happens there would haunt the nation road in North Dakota, then on to Custer on forever"-represented, we are told, three de­ the Yellowstone, then back East to the Panic cades of conflict culminating in a violent cli­ of 1873, then west again to Custer in the Black max. "Heartbreaking," David McCullough Hills looking for gold, with brief appearances explains, is the best designation for this era. of President Grant and the Philadelphia Ex­ The episode's core is a forced, reductive position, the episode finally focuses on the discussion of Custer and Crazy Horse. The battle of the Little Big Horn. Although diver­ script asserts that the two men are etched in gent views are well represented, some experts the American imagination and that it should are prone to dramatic overstatement. Ambrose be no surprise that their lives converged. says Custer was "pumped up" and made ratio­ Custer in essense is characterized as a foolish, nal strategic choices. Utley observes there was vainglorious commander who wilfully sacri­ enormous chaos and no organization on ei­ ficed the lives of his men throughout his mili­ ther side. Other experts offer opinions on tary career. Robert Utley says he polarized Custer's mistakes. The episode concludes by people, though Stephen Ambrose praises him stating that the battle of the Little Big Horn as a great leader in combat and a superb tacti­ represented the beginning of the end of a way cian. Ian Frazier describes him as "a pain to of life for the Sioux and for white Americans live with," and Michael Her Many Horses alike. Sitting Bull and Crazy Horse gave up claims he failed as a true warrior when he even­ hope, the narrator enigmatically offers. The tually met "some real men." episode ends with images of the Ghost Dance, Crazy Horse is presented as a lover of war preparing for the portrayal of Indians as vic­ whose eccentricities the Lakota tolerated as tims in the concluding episode. long as he won. John Carter observes that Episode IV, Ghost Dance, offers a selection whites respected him, and Mardell Plain­ of events following Little Big Horn: the assas­ feather, a Crow, says he refused to have his sinations of Crazy Horse and Sitting Bull; photo taken because he didn't want anything Buffalo Bill's Wild West Show; how the Ghost to do with whites. Ian Frazier adds that Crazy Dance began and ended; what occurred at Horse was a completely self-invented man who Wounded Knee I. It is the most compact and never tarnished his own image. He gave Na­ coherent of the four parts. Rare footage of Buf­ tive Americans an unshakeable identity be- falo Bill's show and photos of ghost dancing 290 GREAT PLAINS QUARTERLY, FALL 1996 and the Wounded Knee massacre are used ef­ things used to be. There is an atmosphere of fectively. Wounded Knee poisoned relations melancholy beauty. Frequently, the same buf­ between Indians and whites over the twenti­ falo herd runs across green and empty grass­ eth century, the narrator observes. lands without destination or goal, free to The episode begins inauspiciously with move anywhere and live anyway. The entire Stephen Ambrose repeating his claim that the continent seems available to them. A train Little Big Horn not only spelled the end of a pushes toward the green and empty grass­ way of life, but was "the most glorious mo­ lands, steaming forward, inevitably, unavoid­ ment in the history of the Lakota people," a ably, to a destination and goal. Nothing can dubious statement. He goes on to say that stop its advance. These images effectively Wounded Knee happened because Indians had embody the documentary's message. been put in their place and were now escap­ And there are other technical problems. ing. Their desire to be Indians, to keep their The repetitive music, employed in predict­ "Indianness," had to be crushed. The narra­ able ways, becomes annoying and tiresome tor, offering that the Sioux people turned after the first episode. Indians are accompa­ against Crazy Horse because Lakota leaders nied by mystical, howling, eerie strains, were jealous of the attention he had gotten, whites by period music that is upbeat and and that Crazy Horse was "heartbroken," in crisp. Racial distinctions also drive the dra­ essence blames Crazy Horse and his people for matization of quotations, Native American his own murder. This is far from a competent quotes read slowly by deep voices, white characterization of the assassination at Fort American quotes read quickly and lithely. Robinson. Initially stunning photographs of Indians are As the episode unfolds, Charlotte Black used over and over again. Perhaps the most Elk explains what the assassination of Crazy effective visuals are depictions of battles where Horse meant and continues to mean to the photos and music match, where viewers hear Lakota. The episode moves on to consider guns and orders shouted, the sounds of flying the background to Sitting Bull's death, the arrows and human excitement and anguish. rise of the Ghost Dance, and the prelude to Almost magically, still pictures bring battles the massacre at Wounded Knee. W ovoka is to life. explained, as is Kicking Bear's odyssey to For all its ambition, then, The Way West is bring the new religion to the Sioux. With in many respects an old fashioned "Cowboys care and balance, Ghost Dance reports what and Indians" history, with a bit more atten­ happened at Wounded Knee to powerful tion paid to the Indian point of view. Overall, effect. The episode concludes with Turner it represents only small improvement over giving his 1893 lecture and Buffalo Bill prior documentaries. New perspectives on the celebrating the mythic West in his show general knowledge of the era have been added, business extravaganza. but The Way West leaves the overriding im­ What makes for a good historical documen­ pression of an old story of myths masquerad­ tary? We have observed some of the serious ing as history. factual lapses, problems of presentation and definition, and events distorted for dramatic Reviewed at the Renvall Institute, impact throughout The Way West. What of North American Studies Program, the documentary's technical dynamics? Here University of Helsinki, Finland, by the series excels visually, though its images MARTIN BLYTHE, MIA GRAEFFE, SANNA and techniques are often stereotypical. Re­ HEINSALO, OSSI HEINANEN, ARI HELO, peatedly the camera floats quickly over idyllic KARl HIRVINEN, PIlA KIVINIEMI, grassy plains, soft and sad music filling the VELLO Ruus, JOHN WRIGHT, aural background. Indian voices talk of how and JOHN R. WUNDER.