The Silent Enemy (1930) and n’Daki Menan: Reclaiming Mise-en-Scène as Authorial Expression

Paramount Pictures’ The Silent Enemy, released in 1930, is a fascinating cultural artifact made and released during the transition from silent to sound film. One of the last silent feature films made by the studio, this critically acclaimed film took three years to make and was shot in large part on location on n’Daki Menan, the traditional territory of the Teme Augama Anishnabai in northern Ontario. Like other silent films made in Indigenous communities during this period such as Curtis’ In the Land of the Head Hunters (1914) and Myles’ The Daughter of Dawn (1920), The Silent Enemy employed local Indigenous actors and drew on their knowledge and traditions to construct its vision of pre-contact Anishinaabe life. While the exact location and community are never mentioned in The Silent Enemy itself, local Anishinaabe people were hired to act in the film and make the costumes and sets according to pre-contact standards, all elements of the film form that added greatly to the production’s claims of authenticity. This cultural labour went uncredited and unacknowledged. While the film recycles the prominent ethnographic narrative of the dying “Indian” culture, it does feature ironic moments of Indigenous survivance, such as an introductory sequence with Chief Yellow Robe shot in synchronized sound, naturalistic performances, material culture designed by locals that continue to captivate community members, and over-the-top colonial takes on pre-contact life. Until now, most readings of this silent feature focused on the celebrity image of Chief Long Lance and his “outing” as an African American and its use of Native American actors in leading roles, but for far too long, the story of its long-lasting influence as both a personal and a public historical artifact for the Teme Augama Anishnabai has not been told. The authors’ method for telling this story will alternate between oral storytelling and scholarly analysis of the film’s formal and thematic elements. The authors hope that by drawing on oral and traditional storytelling approaches, Indigenous ways of knowing will be foregrounded.