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6.8/10
Senior Film Conservator
A definitive 6.8/10 rating for a film that redefined the boundaries of cult cinema. Massacre remains a cornerstone of transgressive art.
If you like old movies that feel like they’re trying to say something big but trip over their own shoelaces, sure. If you need clean pacing or nuanced writing, stay away. This is strictly for people who find the 1930s studio era fascinating even when it’s clumsy.
Richard Barthelmess plays Joe Thunderhorse, and honestly, he’s doing a lot of heavy lifting. He’s got this weary look in his eyes that feels less like acting and more like he’s just tired of the production. He walks into his reservation and the movie suddenly turns into a loud, angry shout-fest about corruption.
The corrupt officials in this are cartoon villains. They don’t just scheme; they twirl invisible mustaches while waiting for the next scene. It’s almost funny how obvious it is. I kept waiting for someone to just stop the monologuing and get to the point.
There’s a scene where Joe is confronting the local bigwigs, and the camera lingers on his face for way too long. It’s supposed to be a moment of deep, silent defiance, but instead, it just felt like the director forgot to yell 'cut.' I counted twelve seconds of just staring. It’s these little weird choices that make it stick in your head.
The whole 'returning home to find things broken' vibe reminds me a bit of the frantic pacing in The Crisis. Both movies seem to think that if they just keep moving, the audience won't notice the plot holes. It’s a bold strategy, I guess.
Is it a masterpiece? Hardly. But there’s a grit here that isn't in a lot of fluff from that decade. It’s messy, it’s angry, and it doesn’t care if you like the main character or not. Sometimes that’s enough to keep you watching, even when the script is clearly falling apart at the seams. 🎥