Word: massai
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...Semester at Sea hosts several interport lectures. On my voyage last spring, our lectures were Bishop Tutu (Brazil to South Africa); Liberty Mhlanga (Cape Town to Kenya); Margaret Pusch (Nassau to Brazil) and Maria Ruiz-Merroth (Nassau to Venezuala). They spoke on everything from the farming practices of the Massai in Kenya to third world debt problems, the Gulf of Columbia-Venezuela conflict, apartheid (or Apart-Hate as Desmond Tutu prefers to call it) in South Africa and Los Angeles and world population growth. In a way, they were the equivalent of visiting professors, though they would be embarrassed...
Apache (Hecht-Lancaster; United Artists) claims to follow in the bootsteps of High Noon and Shane, but it trips along the way. It stars Burt Lancaster in a fairly closeup view of the Indian brave, Massai, who refused to join Geronimo in a peace contract with the U.S. Army. The old chief and his warriors are shipped off to Florida reservations, but Massai escapes and decides to go it alone...
Back in Arizona Territory, Massai continues his one-man war against the Army and even the Indians who remain there. This story line gives onetime Circus-Acrobat Lancaster plenty of opportunities to leap daringly from crag to crag, horse to horse, and frying pan to fire. In time everybody is after him, but the one to catch him first is Nalinle (Jean Peters), whose object is squawhood. Together they build a little mountain hideout and plant some corn. When Army scouts find them, Massai, Nalinle and their brand-new papoose prove too homey a family to break up, so Massai...
Ernest Laszlo's photography and Robert Aldrich's direction help make the film appear a little grander than it really is. There are some fine shots of a realistic Indian village and of hazy plains and sawtooth mountains. Good scene: Massai's bewilderment as he wanders through the streets of bustling 1886 St. Louis, eying such strange sights as a player piano, a fire wagon, women in bustles...
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