"Second, this epic tale allows the audience to actually listen to the Native Americans and receive their wisdom. Spielberg conveys the respect for Native Americans that is normally lacking in Western films"
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Bridges is doing two things at once: praising a specific filmmaking choice while quietly indicting a whole genre’s moral laziness. By calling it an “epic tale,” he borrows the prestige language Hollywood reserves for “serious” stories, then redirects that gravitas toward a group Westerns have historically treated as scenery, threat, or tragic garnish. The loaded word is “actually.” It signals how low the bar has been. Listening becomes a radical act only because the genre has been built on not listening.
The phrasing “receive their wisdom” risks tipping into a flattering, audience-friendly mysticism, the kind of benevolent stereotype that still keeps Native people at a safe symbolic distance. But Bridges’ intent reads less like New Age romance than a call-out of industry habit: Westerns have long been machines for manufacturing legitimacy - for settlers, for empire, for masculinity - and Indigenous characters often exist to validate a white protagonist’s transformation or to be swept aside by “history.”
Invoking Spielberg is context that matters. Spielberg’s brand is mass empathy: he makes moral clarity feel like spectacle. Bridges is essentially arguing that mainstream cinema, not just arthouse revisionism, can model respect - that a big, emotional crowd-pleaser can also rewire whose voice counts. The subtext is strategic: if even the king of popcorn prestige is showing deference, the excuse-making era for the Western’s blind spots is over.
The phrasing “receive their wisdom” risks tipping into a flattering, audience-friendly mysticism, the kind of benevolent stereotype that still keeps Native people at a safe symbolic distance. But Bridges’ intent reads less like New Age romance than a call-out of industry habit: Westerns have long been machines for manufacturing legitimacy - for settlers, for empire, for masculinity - and Indigenous characters often exist to validate a white protagonist’s transformation or to be swept aside by “history.”
Invoking Spielberg is context that matters. Spielberg’s brand is mass empathy: he makes moral clarity feel like spectacle. Bridges is essentially arguing that mainstream cinema, not just arthouse revisionism, can model respect - that a big, emotional crowd-pleaser can also rewire whose voice counts. The subtext is strategic: if even the king of popcorn prestige is showing deference, the excuse-making era for the Western’s blind spots is over.
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