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OK, if you haven't seen this movie yet but plan to, you may want to skip down to the Na'vi Language part of this entry, since I do give my thoughts on the movie itself here in this first part.

You can read movie critics galore critiquing this movie, so I will not do much of that here.  But I will graciously offer my opinion overall: the movie is cinematographically (that's a long word!) excellent (especially in 3D), and the dialogue is so so.  And, of course, I found the artificial language created especially for this movie quite interesting, but I'll come back to that below in its own separate entry.

As a linguistic anthropologist whose interests and passion lie in the preservation and documentation of already dormant or moribund languages and cultures, I find the movie wreaking with what has become known as "Noble Savage Syndrome," as exemplified in the words of Alexander Pope in his 1734 Essay on Man:

Lo, the poor Indian! whose untutor'd mind
Sees God in clouds, or hears him in the wind;
His soul proud Science never taught to stray
Far as the solar walk or milky way;
Yet simple Nature to his hope has giv'n,
Behind the cloud-topp'd hill, a humbler heav'n;
Some safer world in depth of woods embrac'd,
Some happier island in the wat'ry waste,
Where slaves once more their native land behold,
No fiends torment, no Christians thirst for gold!
To be, contents his natural desire;
He asks no angel's wing, no seraph's fire:
But thinks, admitted to that equal sky,
His faithful dog shall bear him company.

The analogy to the nineteenth century US with its European colonization and the abhorrent treatment of indigenous peoples, up to and including forced removal and all-out genocide, is very evident throughout the movie.  The only major difference, of course, is that the movie has a Hollywood happy ending, utterly insulting to any Native Americans watching.  American Indians did not in reality, unfortunately, have any Jake Scully defecting from the genocidal European and Euro-American war machine hellbent on Manifest Destiny to save the day and bring an end to what the movie calls the "Time of Sorrow."  This time of sorrow is short-lived in the movie and soon ends, but, lest we need to remind ourselves, such sorrow never ended for our indigenous peoples who still suffer the multi-generational effects of several centuries of European and Euro-American racism, cruelty, and genocide.

But if you can manage to overlook another obvious Hollywood attempt at assuaging our "white guilt," then the movie is fairly good and entertaining.

Na'vi Language

First Tolkien's Elvish, then Okrand's Klingon, and now Frommer's Na'vi! Perhaps there will be a future for us linguists and linguistic anthropologists in the creation and development of artificial languages for sci-fi movies.  In this latest sci-fi hit, the indigenous peoples of the planet Pandora are given a real (invented) language with real vocabulary and grammar.  Paul Frommer, the USC professor who invented the language, tried to make it sound "alien" yet pronounceable.  Probably the most notable sounds are the ejective p, t, and k, which appear in some Native American languages, including Mayan.  Frommer was not the first linguist to examine Amerindian languages as models for inventing an artificial language.  Okrand, a linguist who got his PhD at UC Berkeley with his dissertation on Mutsun Ohlone (a close cousin of Rumsen), admitted that the Ohlonean languages were the inspiration for some of the sounds and grammatical aspects he put into Klingon.

Click here for a short YouTube report on the Na'vi language.  Perhaps there will be a dictionary and grammar forthcoming?

A real Yukatek Maya perspective on the movie Apocalypto

I especially liked his ending sentence:

"Perhaps Gibson could make a movie showing how the Mayas still are suffering discrimination, even to the point of being cheated out of our lands and displaced, because of the ships he showed arriving as the finale of 'Apocalypto.'"

Not to mention his remarks on the Yukatek language as spoken by non-Maya actors!

Who were the Maya?

Not the people in 'Apocalypto'

By PATRICIO G. BALONA
Staff Writer

The Mayas were savages and needed to be straightened out.

That is the message Mel Gibson's movie "Apocalypto" conveyed to me when it contrasted savage bloodthirsty pagans meeting with arriving Europeans carrying the symbol of the cross.
But we are not savages.

Spanish invaders who arrived among the Maya in the 16th century depicted natives as barbaric people dedicated to devil worship in order to justify brutality and conquest. We all know native peoples didn't fare well under Christianity; some cultures were completely lost. Coincidentally, Christianity is the foundation of Gibson's belief and spirituality.

But a more serious massacre -- that of the Yukatek language -- begins early in the movie. The non-Maya actors of North American Indian heritage pronouncing their rehearsed Yukatek lines sounded like Hollywood Western stereotypes saying: "How! Me Tonto, this Painted Horse."
Although I was born a Yukatek Maya and raised in a Yukatek village, speaking Yukatek as the first of four languages I know, I had to glance at the subtitles to figure out what the actors were trying to say.

It was slightly refreshing that Gibson cast an elder, a storyteller, who spoke the language without pauses, with such musical flow and accuracy that for a moment I thought I was in my village listening to my own elders. But, sad to say, the only other significant part in the movie where the power of the Yukatek language was genuinely demonstrated is when the tiny village girl talks about the prophecy of the jaguar ending the evil and vile ways of the devil people.

The film is full of violence, floods of blood, throat-slitting, beheadings, heads rolling down the steps of temples and hearts being wrenched out of gaping holes in upper abdomens.

I had to turn to my friend, Robert Sitler, a Latin American studies professor at Stetson University, to ask for his reaction.

"Sadly, 'Apocalypto' will leave mainstream American moviegoers seeing Maya as heartless savages," Sitler said after the movie. He said the movie "unwittingly reinforces a long-standing tradition of virulent racism against the Maya among white Europeans and their Spanish-speaking descendents."

The film falls short of Gibson's intention -- which, remotely, appears to be telling the story of Jaguar Paw, the hero played by Rudy Youngblood, and the prophecy of his rise to power. The film fails for two reasons.

First, Gibson bogs down the plot with his craze for blood and death. Second, just as Jaguar Paw appears to be achieving success, he runs into ships anchored in the bay with boats rowing ashore carrying grim-faced conquistadors bearing the symbols of the cross.

I am not certain which Jaguar Paw Gibson tried to portray in his movie. There were several famous Jaguar Paws in Maya hieroglyphics, including one who became king of the great Maya city of Calakmul in 686 and was long gone when the Spaniards arrived 806 years later. There were no glorious Maya cities, simply small communities scattered throughout the Maya world.
And Mr. Gibson, that world is not only Guatemala, Mexico and Honduras, as you defined it in promoting your movie. It also includes what is now Belize and El Salvador.

Unlike the sadistic and violent caricatures of Maya in "Apocalypto," real Maya intensely nurture their children and honor both their elders and ancestors, embracing human mortality in the context of a cultural heritage going back more than a hundred generations.

My only hope is that moviegoers would take the movie as a misleading and distorted Hollywood drama designed to entertain.

Perhaps Gibson could make a movie showing how the Mayas still are suffering discrimination, even to the point of being cheated out of our lands and displaced, because of the ships he showed arriving as the finale of "Apocalypto."