1950 marked an important turning point in the evolution of the Hollywood Western and Broken Arrow, directed by Delmer Daves, was largely responsible for that. A sympathetic treatment of the plight of the Apache people and their way of life, the film was the first major studio western to depict Native Americans as something other than bloodthirsty savages or naive primitives. The real hero of Broken Arrow was Cochise (Jeff Chandler), the Apache leader, and not the cavalry scout (James Stewart) who marries an Apache woman (Debra Paget). The film’s liberal views on race and the white man’s treatment of the Native-American were considered daring at the time and garnered much critical acclaim. It also earned three Oscar nominations including one for Best Screenplay (by Michael Blankfort). The downside of all this is that Broken Arrow‘s success completely overshadowed Devil’s Doorway, which was released the same year and also addressed the terrible treatment of this nation’s original settlers.
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The Cult of Kaze
There are good cults and bad cults and the cult of Kaze is a bit of both worlds. Not really a recognized cult, it is instead an informal club of ten women who are united in sisterhood over a common cause which they hope will result in their liberation from a certain Mr. Kaze, a handsome, successful executive in the television industry. The bad part of their mutual solidarity is that the women want Kaze to die and they aim to kill him. Why? Because nine of the women have had affairs with and been discarded by this man and the tenth woman, Futaba Kaze, is his wife and has suffered from his serial unfaithfulness for years. As you would expect from this set-up, Kuroi jûnin no onna (The English title translates as Ten Dark Women or Ten Women in Black), directed by Kon Ichikawa in 1961, is a feminist revenge film but it is also so much more than that.
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