CINEMA
‘Attla’ portrays
Alaskan folk hero
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What looks on the surface to be a hybrid of
Walt Disney’s “True Life Stories” and the
latest installment of “The Wilderness Fami
ly” is in reality a beautiful, tender film
about a courageous native Alaskan —
“Attla.”
Though a little rough around the edges
and sort of predictable plot-wise. "Attla” is an honest treat
ment of the native ways of life not often portrayed in films
today.
The movie has an intriguing history. Originally titled
“Spirit of the Wind." the film was funded by Doyon Limited
(an Alaskan investment corporation), for the purpose of giv
ing Alaskan and Indian children a modern ethnic hero.
Producer-director Ralph Liddle and cinematographer
John Logue, documentary filmmakers, came to Doyon with
their idea of making a film about Alaskan native and world
champion dog-sledder George Attla, a true unsung hero.
The film was completed in 1980 and released theatrically
in Alaska and at numerous film festivals across the nation.
Though it was the third highest grossing film in Alaska
as of last year and a multiple festival-award winner, the
Hollywood establishment views “Attla” as an uncommercial
feature. L.iddle explains: “Hollywood has three rules: don’t
make films about minorities, about animals, or about snow.
We've got all three.”
Liddle and Logue spent a couple of years getting the
rights to their film back after a now-bankrupt distributor ac
quired them. Now the film is the first release by a company
new .to film — the record producer Windham Hill. Liddle,
[.ogUe, Windham Hill and numerous friends are nurturing it
through a grass-roots release in its first test market: Eueene.
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"If ‘Attla’ can't make it Eugene,” explains Liddle, “it
can't make it anywhere.”
George Attla was born into a backwoods trapping family,
but was forced to grow up in the city when he contracted
tuberculosis. Seven years later he returned home, only to suf
fer a mild culture shock and a feeling of insecurity, due to the
fact that one of his knees was fused straight because of his
disease.
Though he tried to return to the city again. Attla realized
his heart belonged in the backwoods — trapping, fishing, and
especially running a sled team.
The acting talents of Pius Savage (George) and George
Clutesi (his father) seem to alienate some viewers simply by
the foreign-ness of the style. True, some of the delivery
sounds stilted or forced, but the speech pattern is actually a
fairly accurate re-creation of native speaking.
The only complaint 1 have with the film is the simplicity
of its plot. But even that is only partially a problem because
the plot is nominal. The thrust of the film rests not there, but
on the cultural surroundings and contrasts to civilized socie
ty, dealt with honestly in terms of George's experience — not,
refreshingly, from our points of view.
"Attla” is a direct, straightforward film. Logue’s
photography is breathtaking, particularly in the outstanding
sequence when the river's ice breaks. Liddle sublimates style
for content, using predominantly medium shots and long
takes for an almost neo-realist look. The beautiful landscape
shots are his only vice, and I’ve no complaint there.
Outstanding music by Buffy Sainte Marie and beautiful
guitar solos by William Ackerman round out the production
and smooth over many of the rough edges. This is a simple ef
fort at heart, but warmth overcomes most complaints one
would have with the film.
Sean Axmaker
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Philip Mitchell
Winner of the 1984 Alicia
Woods Poetry Award
Will Be Reciting
Originals Plus
Selections From
Ginsberg and
Amichai on Tuesday,
November 20, 1984.
7:00 PM 167 EMU
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November 16th, 17th & 18th
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