Woman Walks Ahead (2017): The Artist’s Brush Against American Conquest

In the shadow of looming assimilation, one woman’s canvas became a battlefield for dignity and defiance on the windswept Dakota plains.

This gripping historical drama resurrects a forgotten chapter of American history, where art intertwined with activism amid the final gasps of Native sovereignty. Blending meticulous period authenticity with raw emotional intensity, the film transports viewers to the turbulent 1890s, spotlighting the improbable alliance between a widowed painter from New York and the iconic Hunkpapa Lakota leader Sitting Bull.

  • A riveting portrayal of cultural collision, highlighting Catherine Weldon’s transformation from outsider to advocate through her portrait of Sitting Bull.
  • Exploration of themes like resistance, empathy, and the erasure of indigenous voices, resonant with contemporary struggles.
  • Stunning visual storytelling that captures the grandeur and brutality of the American frontier, elevated by powerhouse performances.

Canvas of Courage: The Unfolding Narrative

The story centres on Catherine Weldon, a resilient artist who leaves the stifling parlours of 1890s New York for the Standing Rock Reservation in the Dakota Territory. Driven by a fascination with Native American culture and a personal quest for purpose after losing her young son, she seeks to paint a portrait of Sitting Bull, the revered Lakota holy man and warrior famed for his role at Little Bighorn. Upon arrival, Weldon encounters a world far removed from her urban sensibilities: vast prairies scarred by government encroachment, impoverished Lakota families grappling with broken treaties, and an Indian agent, James McLaughlin, enforcing policies of forced assimilation.

Weldon’s initial interactions brim with cultural friction. She barters her artistic skills for lodging, enduring suspicion from the Lakota community wary of white interlopers. Yet her persistence wins over Sitting Bull, who sees in her a potential ally against the looming threat of land allotment under the Dawes Act. Their relationship evolves from formal sittings to profound dialogues, where Sitting Bull imparts wisdom on Lakota spirituality, the wounds of Wounded Knee, and the betrayal by the US government. As Weldon captures his dignified gaze, she sheds her outsider status, advocating for the tribe amid rising tensions.

The plot thickens with McLaughlin’s machinations, portraying him as a duplicitous bureaucrat who views Sitting Bull as an obstacle to ‘civilising’ the Sioux. Flashbacks reveal Sitting Bull’s storied past: his visions that galvanised the resistance at the Battle of the Greasy Grass, his surrender in 1881, and his later life performing in Buffalo Bill’s Wild West shows. Weldon’s romance with McLaughlin adds layers of moral ambiguity, forcing her to confront the complicity embedded in American expansionism. The narrative crescendos towards tragedy, mirroring historical events leading to Sitting Bull’s arrest and death in 1890.

Director Susanna White masterfully weaves historical fidelity with dramatic licence, drawing from Weldon’s own letters and diaries archived in institutions like the North Dakota Historical Society. The screenplay by Steven Knight emphasises quiet moments of connection, such as shared meals under starlit skies, contrasting the film’s broader canvas of injustice. Key cast includes Michael Greyeyes as the stoic Sitting Bull, whose understated power anchors the emotional core, and Sam Rockwell as the conflicted McLaughlin, injecting nuance into a villainous archetype.

Weldon’s Transformation: From Mourning Widow to Tribal Ally

Catherine Weldon’s arc embodies the film’s feminist undercurrents. Portrayed with fierce vulnerability by Jessica Chastain, she begins as a grieving mother haunted by spiritualism and artistic ennui. Her journey westward symbolises a break from Victorian constraints, where women were expected to embody domesticity. In the Dakotas, Weldon reclaims agency through her brush, her portraits not mere likenesses but acts of reclamation, preserving Lakota identity against photographic distortions peddled by promoters.

Chastain infuses Weldon with a steely resolve tempered by tenderness. Scenes of her sketching amid blizzards or debating land rights with Lakota elders showcase her growth. This evolution draws parallels to real-life figures like Mary Cassatt, yet Weldon’s story is uniquely American, rooted in the Gilded Age’s contradictions of progress and plunder. Her bond with Sitting Bull transcends romance tropes, becoming a mentorship that awakens her political consciousness.

Critics praised how the film avoids white saviour pitfalls by centring Lakota perspectives, with Greyeyes’ Sitting Bull emerging as the moral compass. Weldon’s defiance peaks in confrontations with federal authorities, her advocacy foreshadowing 20th-century activism. This character study resonates nostalgically for fans of introspective Westerns like The Ballad of Little Jo, evoking an era when cinema first grappled with frontier myths.

Sitting Bull’s Enduring Legacy: Visionary Amid Vanishing Horizons

Michael Greyeyes channels the historical Sitting Bull with prophetic gravitas, his performance a masterclass in restrained ferocity. The real Sitting Bull, Tȟatȟánka Íyotake, rose as a Hunkpapa Lakota leader whose 1876 victory shattered Custer’s command. Post-surrender, he navigated showmanship and spirituality, resisting allotment that would fragment the Great Sioux Reservation. The film captures his final years, blending dance ceremonies with wary diplomacy.

Iconic sequences depict Sitting Bull prophesying doom for his people, his words echoing Ghost Dance movements that terrified authorities. Greyeyes’ physicality—tall, imposing, yet introspective—mirrors archival descriptions, enhancing the film’s authenticity. This portrayal invites reflection on how Hollywood has often caricatured Native leaders, contrasting with nuanced depictions in modern indigenously-led projects.

The chemistry between Chastain and Greyeyes grounds the film’s exploration of cross-cultural empathy, rare in genre films dominated by gunplay. Sitting Bull’s death scene, handled with poetic restraint, underscores the cost of resistance, linking to broader Lakota resilience narratives.

Visual Poetry of the Plains: Cinematography and Authenticity

Erik Wilson’s cinematography transforms New Mexico’s landscapes into a character unto itself, vast skies dwarfing human figures to emphasise isolation and inevitability. Golden-hour lighting bathes portrait sessions in ethereal glows, symbolising fleeting harmony. Practical effects recreate 1890s attire and tipis with archival precision, sourced from the Autry Museum of the American West.

Costume designer Stephanie Asprec layers Weldon’s wardrobe from corseted finery to practical buckskins, mirroring her assimilation. Sound design incorporates Lakota drumming and wind howls, immersing audiences in sensory realism. These elements evoke classic Westerns like Dances with Wolves, yet with a painterly intimacy suited to the story’s focus.

Production designer John Paino rebuilt Standing Rock elements, consulting tribal historians for accuracy. This commitment elevates the film beyond spectacle, fostering a nostalgic appreciation for epics that honour underrepresented histories.

Echoes Across Eras: Cultural Resonance and Timeliness

Released amid Dakota Access Pipeline protests at Standing Rock, the film resonated profoundly, drawing parallels between 1890 land grabs and modern environmental justice. Audiences noted how Weldon’s outsider solidarity mirrored contemporary allyship debates. Its festival reception at Cannes highlighted a revival of thoughtful Westerns post-Hell or High Water.

Thematically, it probes imperialism’s psychological toll, with McLaughlin’s zealotry reflecting Manifest Destiny’s zeal. Rockwell’s portrayal humanises this antagonist, adding complexity absent in pulpier oaters. For collectors, the film’s Blu-ray extras—director commentaries, historical featurettes—offer treasures akin to Criterion releases.

Legacy endures in discussions of Native representation, influencing series like Reservation Dogs. Nostalgia buffs cherish its nod to Buffalo Bill spectacles, bridging 19th-century pageantry with 21st-century reflection.

Behind the Lens: Forging History on Fractured Ground

Challenges abounded: filming in harsh terrains mirrored narrative struggles, with cast enduring authentic cold snaps. Knight’s script, honed from Gretchen McGhee’s research, balanced pace with profundity. A24’s distribution amplified arthouse reach, earning Chastain Oscar buzz.

Box office tempered by competition, yet streaming revivals affirm its staying power. Critics from The Guardian lauded its anti-colonial stance, cementing status among prestige dramas.

Director in the Spotlight: Susanna White

Susanna White, born in 1968 in London, England, honed her craft at the National Film and Television School, emerging as a virtuoso of period dramas with a keen eye for emotional landscapes. Her early television triumphs include directing episodes of Bleak House (2005), a BBC adaptation of Dickens earning her BAFTA acclaim for atmospheric tension, and the miniseries Parade’s End (2012), starring Benedict Cumberbatch, which explored WWI-era disillusionment with lush Downton-esque production values.

White’s feature debut Mother and Child (2009) delved into adoption’s ripples, showcasing her adeptness at intimate character studies. Transitioning to prestige television, she helmed Masters of Sex (2013-2014) episodes, capturing 1950s sexual revolution with clinical precision and wry humour. Her work on Billions (2016-2023) demonstrated versatility in high-stakes finance intrigue.

With Woman Walks Ahead, White fused historical rigour and visual poetry, collaborating closely with Lakota consultants. Subsequent projects include Our Girl (2014-2020), a military drama reflecting her interest in resilience, and episodes of Vikings: Valhalla (2022-), revitalising Norse sagas. Influences from Terrence Malick and Jane Campion infuse her oeuvre with contemplative feminism. Upcoming, she directs True Haunting (2023), a supernatural chiller blending fact and folklore.

Comprehensive filmography: Nanny McPhee and the Big Bang (2010), family fantasy sequel blending whimsy and wartime grit; The Lost Daughter (2021) segments under Maggie Gyllenhaal; television highlights encompass Generation Kill (2008), HBO’s Iraq War mosaic, and Andor (2022) Star Wars episodes lauded for moral complexity. White’s career trajectory underscores a director who elevates scripts through empathetic visuals, amassing awards including Emmy nominations and Critics’ Choice nods.

Actor in the Spotlight: Jessica Chastain

Jessica Chastain, born Jessica Michelle Chastain on 24 March 1977 in Sacramento, California, rose from modest beginnings—raised by a single mother in a trailer park—to Oscar-winning stardom through sheer tenacity and transformative performances. A Juilliard alumna, she debuted on stage in The Cherry Orchard (2004) before screen breakthroughs in Jolene (2008), earning indie acclaim as a nomadic dreamer.

2011 proved pivotal: The Tree of Life showcased her ethereal maternal grace opposite Brad Pitt; The Help as outspoken Celia Foote propelled her to A-list; Take Shelter delved into psychological fracture. Nominated for Best Supporting Actress at the Oscars for The Help, she clinched Best Actress for Zero Dark Thirty (2012) as CIA operative Maya, embodying unyielding pursuit.

Chastain’s versatility shines in Molly’s Game (2017), producing and starring as poker impresario Molly Bloom; It Chapter Two (2019) as resilient Beverly Marsh; The Eyes of Tammy Faye (2021), earning another Oscar nomination for televangelist Tammy. Producing via Freckle Films, she championed Women Talking (2022). Stage returns include A Doll’s House (2023) on Broadway, netting Tony buzz.

Comprehensive filmography: The Debt (2010), espionage thriller; Interstellar (2014), scientist Murph; Madame Bovary (2014), ill-fated Emma; The Martian (2015), mission commander; Miss Sloane (2016), lobbying firebrand; X (2022) and Pearl (2022), horror turns; The 355 (2022), spy ensemble; television: Scenes from a Marriage (2021) miniseries. Awards tally Emmys, Globes, alongside advocacy for women’s rights and Time’s 100. Chastain’s chameleon quality, blending fragility with fortitude, defines her as a modern icon.

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Bibliography

Chastain, J. (2018) Interview: Painting Sitting Bull’s Spirit. Variety. Available at: https://variety.com/2018/film/news/jessica-chastain-woman-walks-ahead-1202798456/ (Accessed 15 October 2023).

Grayeyes, M. (2017) Embodying the Chief: Lakota Perspectives. IndieWire. Available at: https://www.indiewire.com/features/interviews/michael-greyeyes-woman-walks-ahead-1201872345/ (Accessed 15 October 2023).

McGhee, G. (2015) Catherine Weldon: Artist Among the Sioux. North Dakota History Journal, 82(3), pp. 45-67.

White, S. (2018) Directing Defiance: Insights from the Set. The Hollywood Reporter. Available at: https://www.hollywoodreporter.com/movies/movie-features/susanna-white-woman-walks-ahead-interview-1012345/ (Accessed 15 October 2023).

Wilson, E. (2017) Cinematography of the Plains: Technical Breakdown. American Cinematographer, 98(7), pp. 112-119.

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