Señales de humo

I lived where this was filmed and really enjoyed the movie for the content and the location. The inside jokes about being Indian were great and since I no longer live on the reservation it reminded me of home. The story was believable and the actors brought it to life. I had to call my brother and tell him to watch it again and look closer at the end credits and background of the film, it is wonderful. Congratulations to the Cast & Crew.

Despite Leonard Maltin's comment that Smoke Signals is "basically unexciting film-making," I found this movie deeply spiritual without being heavy-handed. The aspect of the film that captured my interest and has stayed with me is the story-telling of Thomas. The stories mingle simple, real-life recollections with fantasy, and the voice of Thomas subtly gives the movie a transcendent quality. Thomas is a modern-day medicine man, grounded in reality yet open to possibilities. He marvels at the beauty of the creation that surrounds him and dreams of what new wonders the future might bring. He is hope.

I intend to view this film many more times. It deals with tragedy without being tragic. It recognizes the sometimes brutal facts of reality without allowing brutality to define. It reveals sadness but not as an end in and of itself. It asks questions but leaves the answers to the viewer. And it affirms that there are answers and hope.

This film did not get the attention it deserved. When I first heard about a film made by Native Americans, I was afraid it would be an exercise in political correctness. But the ethnicity of the characters took a back seat to the universal themes of friendship and learning to come to terms with one's past. This is one of the greatest "buddy movies" ever made. A couple of years after I saw it I drove through the American Southwest for the first time, and images of the film kept coming into my head. This is a film which really stays with you.

I flew up to Seattle on the '98 July 4th weekend to see the matinee premier on the Friday. Sherman Alexie is a, of course, a well known poetry and prose writer in the Northwest, but this was his first step into cinema with a screenplay based on his short story, 'The Lone Ranger and Tonto Fist Fight in Heaven.'

The premiere was at an old, Egyptian-themed cinema in Seattle and the house was half full for the 4:30 matinee. The audience was predominately Native American.

On exit, Sherman stood on the sidewalk in the late afternoon Seattle light and waited nervously like a child, to see the reaction to the film (which had ended with unanimous applauds from the half house audience). A film crew was there for exit polling.

A diminutive Native American female elder slowly approached Sherman. She moved forward and extended her arms around him into a hug and spoke softly, "Thank you."

Sherman was mush.

Don't miss this film. He's not 'the Spike Lee of Native American film making' as the Time Magazine of that week put it. He's an independent, regional film maker, whose background is the 'Rez.'

As babies, Victor and Thomas survive a housefire that kill many others; their bond appears to be born of fire but years later they have drifted apart. They both still live on the reservation but Victor has become more of a jock and Thomas is the bespectacled geek that he has been since childhood. When Victor's absentee father dies, he plays to travel to the funeral but has not the resources to do so. Thomas offers to help pay for the trip on the proviso that he is allowed to come along with his friend. Victor accepts but prepares himself to be annoyed for the whole journey. However for every moment where their nonexistent friendship is stretched, they grow closer.

Although it is an independent film and produced entirely by an ethnic minority, the plot for this film is fairly straightforward and not anything that is worth hunting out just for that. However it is the delivery, writing and charm of the film that makes it worth seeing and makes it as enjoyable and engaging as it is. Never taking itself too seriously and even poking fun at the ethnic stereotypes we would expect to have found the film's charm relies heavily on its characters to bring it off. The natural writing helps and produces dialogue that flows convincingly even when the story isn't all you could have hoped for. The direction is equally as assured and aids the film by giving the whole thing an accessible and down to earth story.

The cast are a strange mix of people I've never seen and Indian actors who are in everything. Beach is impressive and natural and he makes his character more than just a jock sort of role. Likewise Adams is enjoyable even if he is a little annoying and he is more than just a geek. Bedard is as charming as the film itself and is gorgeous with it – she carries a lot of the emotional weight of the film and she does it well. Farmer is a presence as usual and does well in flashback while support from people like Skerritt adds something if not a lot.

Overall this is not a flawless film but it covers any problems by being charming and enjoyable. The cast take to the writing and deliver natural and likable characters who become the focal point of the film and carry the audience along. Sure it pushes all the "quirky independent film" buttons but it is no less enjoyable for it.