WOMAN WALKS AHEAD: An Unimposing, By-the-Books Biographical Drama

Based-on-a-true story period dramas typically go one of two ways: they either standout for their unique and sensitive approach to the story, occasionally taking liberties for what really occurred but all for the sake of art; or, they over-sentimentalize their subject, at the same time rushing through a story without adequate time spent on developing convincing or relatable characters. More often than not, a majority of films take the latter approach, which is typically the safer route as well.

Unfortunately, Woman Walks Ahead is of this second category. Though based on the intriguing life of Caroline Weldon, the woman who painted a portrait of Sitting Bull and eventually became known for her Native American activism, and starring such talent as Jessica Chastain and Sam Rockwell, the film is ultimately too ambitious for its own good. Its heart is in the right place; but its many moving parts soon become far too distracting.

Based on a true story

Woman Walks Ahead focuses on Caroline Weldon (Jessica Chastain), a recent widow who lives in Brooklyn, New York. An artist by trade, she develops the idea to travel west to Dakota in an attempt to paint a portrait of Sitting Bull (Michael Greyeyes), the last surviving Lakota chief. She is initially met with resistance along the way from the soldiers stationed near the Sioux tribes, including Colonel Silas Grove (Sam Rockwell), who fears that Caroline’s involvement could somehow provoke a new war between the Americans and the Indians.

Caroline remains steadfast, however, determined to get her portrait despite the sometimes hateful scorn of the white townspeople that live nearby, who have lost family members to the Sioux. Caroline eventually comes to respect both Sitting Bull and his tribe, and subsequently attempts to help them at a crucial time, when they are about to be put to a vote that could relieve them of at least half of their current reserved land.

Initially, Susanna White‘s film is promising. The dialogue is sometimes a little too on-the-nose, and the supporting characters, such as Rockwell‘s charming but devious Colonel, feel much like cardboard cutouts, yet there are at least some aspects to admire. For one, the chemistry between Jessica Chastain‘s Caroline Weldon and Michael Greyeyes‘ Sitting Bull is potent. From their first meeting, they soon start to respect one another, which eventually results in a close friendship.

Greyeyes‘s Sitting Bull is an especially strong standout. Playing a man who, at this point had already survived some of the great Native American battles, including the annihilation of General Custer’s army at Little Bighorn, he had become a legend. Even now, later in life, forced to live under the white man’s whim, he still will not let it determine who he is. Greyeyes encapsulates this wearied, strong-willed persona with aplomb, truly bringing to life the man from the history books.

Chastain‘s Caroline is less memorable, yet this is not necessarily due to Chastain‘s performance. As one of the more talented actresses out there, this role unfortunately under-utilizes her talent. For one, the script by Steven Knight forces her to say some sentiments aloud that could easily have been expressed in a non-verbal cue. One line in particular, coming after Sitting Bull tells her she “needs to live more,” greatly undercuts the message that the film had so far been doing relatively well. It’s, as the saying goes, a moment when “show, not tell” would have worked much better.

White Savior Narrative

After these initial bonding scenes between Caroline and Sitting Bull, Woman Walks Ahead quickly starts to lose what little momentum it had. At breakneck speed, it soon transgresses into Caroline giving up nearly everything in her support of the Sioux tribe. Yet, only minutes prior, she was merely an artist attempting to paint a portrait of Sitting Bull. The film’s jerky pace, without enough development behind it, is therefore jarring to the senses.

In many ways, Woman Walks Ahead reminded me of Scott Cooper‘s Hostiles from earlier this year, which similarly was based around Native Americans, though in that case it began with a man who initially loathed Indians but eventually comes to greatly respect them. In both cases, though, what is missing is the slow and steady development to get from the start of a character arc to its conclusion.

The White Savior Narrative, which could be said to be the basis of both films, is problematic on its own, but I don’t necessarily see this as an outright detriment if the sincerity and proper buildup behind the story is present. If not, as in the present case, the film instead feels more like a desire to tick off diversity checkboxes.

Underdevelopment

The motivation behind Caroline’s actions is what is truly lacking in Woman Walks Ahead, which would have been developed by her interactions with the tribe itself. For one, we gain almost no impression as to the additional Sioux members, who we don’t even know by name other than a lawman named Chaska (Chaske Spencer). As a result, by the conclusion when Sitting Bull is giving a speech to the Native Americans, there is far less potency behind his words.

In addition, there is little focus even given to the nature of the surrounding landscape, which should play an integral role in nearly every Western. As a contrast, look at Chloé Zao‘s The Rider, whose many shots of the heartlands of Midwest America are full of lyrical beauty, which serves to emphasize the solemn importance of this place to main character Brady.

Here, there are a few impressive shots, such as one where Sitting Bull and Caroline are strolling through some greenery near the Sioux reservation, but little of this gives us a true sense of the magnitude of this place to the Native Americans. This is, after all, the Dakotas in the 1890s; cinematographer Mike Eley unfortunately does not fully capture the sensation of being there.

Conclusion: Woman Walks Ahead

To conclude, Susanne White‘s Woman Walks Ahead is just a little too safe of a film. Though based on an empowering story, and containing two fine performances by both Michael Greyeyes and Jessica Chastain, its choppy pacing, unimposing cinematography, and underdeveloped characters make it an unfortunately forgettable endeavor.

What are some of your favorite biographical dramas? Tell us your thoughts in the comments below!

Woman Walks Ahead is now available in the U.S. in limited release and on VOD. For all international release dates, click here.