Three Warriors (1977)

          Demonstrating that the contributions of a single artisan can improve even the shabbiest material, this Native American-themed outdoor adventure is disposable but for resplendent cinematography by the great Bruce Surtees, who imbues every shot with depth and weight, achieving especially beautiful results during lengthy sequences set in high-altitude forests. (There’s a reason Surtees was Clint Eastwood’s go-to DP for several years.) So even though Three Warriors presents an unrelentingly trite narrative, and despite director Kieth Merrill’s unsure way with actors, the movie is visually rewarding from its first frame to its last. Also worth noting, of course, is the filmmakers’ commitment to celebrating the Native American experience and to showcasing minority performers.
          The story revolves around Michael (McKee “Miko” RedWing), an Indian teenager who lives with his mother and siblings in Portland. The kids’ father died years earlier, a tragedy that hangs over the whole storyline. The family treks to their old home, Warm Springs Indian Reservation, for a visit with Grandfather (Charles White-Eagle), who is committed to living as traditionally as possible. Initially, Michael is angry and sullen about spending time in the country, but when Grandfather takes Michael on an outdoor journey that has perilous aspects, the boy learns to respect his heritage. Specifically, Grandfather buys Michael a seemingly lame horse, then guides Michael through nursing the animal back to health. Adding contrived tension is a subplot involving a poacher (Christopher Lloyd) who regularly invades Indian land to capture and slaughter wild mustangs. There’s also some comic-relief material involving a newly arrived park ranger (Randy Quaid) who struggles to bond with Native Americans.
          Everything that happens in Three Warriors is predictable, so the first half of the picture is slow going, especially because Michael is portrayed as such a petulant little twit that it’s unpleasant to watch his incessant tantrums. Yet once Michael’s transformation begins, Three Warriors shifts gears by focusing on lively shots of regal animals and magnificent locations. The sequence in which Michael captures an eagle’s feather (yes, that old cliché) is enjoyable because of its meticulous detail, and the final showdown with the poacher generates mild excitement. RedWing never made another movie and White-Eagle has a thin filmography, so that speaks to their limited skillsets. Quaid is somewhat appealing while Lloyd provides drab one-note villainy. In lieu of acting firepower, the movie has Surtees’ expert camerawork and the keen visual sense of director Merrill, best known for his Oscar-winning doc The Great American Cowboy (1974).

Three Warriors: FUNKY