Massacre

Chief Joe Thunderhorse [Richard Barthelmess] is the star of a wild west show at the Century of Progress in Chicago. Though he is the son of a Native American chief, he has spent so many years away from the reservation that he has lost touch with his heritage. He once attended Haskell Institute and never went back, and at the show his Native identity and physical prowess are treated as spectacles by white showmen. His relationship with Norma [Claire Dodd]—his rich white girlfriend who flaunts him in front of her friends—highlights a complicated dynamic where his background is used to draw crowds and boost ratings.

When Joe learns that his father, Black Pony, is on his deathbed, he and his African American valet Sam [Clarence Muse] travel to the Stone Eagle Reservation. There they encounter Elihu P. Quissenberry [Dudley Digges], a white federal government agent who treats Native affairs as a political chessboard. Quissenberry’s conversations reveal a world where the so‑called Indian Problem is talked about in terms of power, land, and control, rather than people in need. The moment is personal for Joe: his father no longer recognizes him, yet the mounting neglect from the outside world intensifies his resolve to understand and defend his people.

The visit exposes a harsher reality. A government doctor, Dr. Turner [Arthur Hohl], has not checked on the ailing elder, and a sense that “the government never changes” hardens Joe’s view of the system. Joe disrupts a publicity stunt featuring Chief Black Star, a white‑handled front man for a Native remedy, when questions about money for the Native community go unanswered. He challenges the manipulators behind the scene and even confronts a white marketer, signaling that he will not be part of a show that erases the community it purports to represent.

Joe returns for the funeral when his father dies. At the ceremony, he refuses a white Reverend’s burial and sends his brother Adam Thunderhorse [James Eagles] to seek a Native man for the rites, insisting on a traditional path rather than a ceremonial appeasement. In the midst of grief, his sister Jennie Thunderhorse [Agnes Narcha] is taken away and horribly harmed by Thomas Shanks [Sidney Toler], an undertaker and white government agent. Joe discovers Jennie’s distress and sets out on a high‑speed car chase across the reservation to bring Shanks to justice. He lassos Shanks and drags him down the dirt road, a brutal reminder of the violence his people face with impunity.

The next day, the Natives perform a sacred funerary ceremony for Joe’s father, a moment that deepens the clash between tradition and modern governance. Quissenberry gets wind of Joe’s “pagan” behavior and demands action, ordering Joe’s arrest. A staged trial with a sham defense follows, and Joe is forced to plead guilty, fined heavily, and jailed. In a turn of fate, Lydia [Ann Dvorak], a college‑educated Native woman, helps Joe escape from jail as law enforcement closes in.

Seeking concrete changes, Joe travels to Washington, D.C. to meet the Commissioner of Indian Affairs, J.R. Dickinson [Henry O’Neill]. The dialogue between government officials and Joe unfolds into a broader discussion about land, water power, oil rights, cattle rangers, and timber—systems that have long blocked pro‑Native legislation. The exchange is searing and pointed, culminating in a stark declaration about the violence and manipulation that Native communities endure: “You used to shoot the Indian down. Now you should cheat him, starve him, kill him off by dirt and disease. It’s a massacre anyway you take it.”

Joe is arrested again for Shanks’ murder, and Quissenberry retaliates by kidnapping Jennie before she can testify. Fearing the worst, the Native men of the reservation stage a dramatic rescue, breaking Joe out of jail and burning the courthouse in a bid to avert a massacre. Joe pleads with the crowd to prevent more bloodshed, and they rally around him as the search for Jennie continues. The authorities arrive with force, but Quissenberry shoots Joe in cold blood and is quickly arrested alongside White Feather, a Native policeman who is implicated in the ordeal. Joe survives the shooting, and the community secures a measure of accountability as Quissenberry and Dr. Turner are removed from their posts.

In the aftermath, Joe is acquitted, and the injustice of the legal sequence is laid bare. He and Lydia reconnect, and Joe accepts a new role within the Indian Service at the Stone Eagle Reservation, signaling a hopeful, though hard‑won, path toward greater Native participation in governance and stewardship of their lands.

You used to shoot the Indian down. Now you should cheat him, starve him, kill him off by dirt and disease. It’s a massacre anyway you take it.

In the end, Joe’s journey—from public spectacle to shared leadership—offers a nuanced portrait of a man torn between a show‑business world that profits from stereotype and a community demanding real recognition, rights, and dignity. Through episodes of personal danger, political confrontation, and cultural renewal, the story remains anchored in the resilience of the Stone Eagle Reservation and the people who navigate a demanding and changing landscape.

Last Updated: December 04, 2025 at 15:32