The Final Struggle between Good and Evil: Atanarjuat’s Return

By Morgan Christopher, with comment by Dana Shakked

[1] The opening scene of The Fast Runner illustrates the central theme of the film: the battle between good and evil. Though Atanarjuat endures and fights back against villain Oki’s malice for the first half of the movie, he is finally forced to flee after his attempted murder. After a season away from his family, Atanarjuat’s return to the community marks the film’s climax and brings about vindication for all the wrongs done by this new generation of men.

[2] The scene transitions from Qulitalik's lodging to a stark, white landscape with loud music. The sound of horns and drums fills the air along with the sound of Atanarjuat’s voice. Though there are no subtitles, it is assumed he is ordering the white dogs to keep going, faster. Atanarjuat, dressed in white fur, runs alongside his sled, pulled by the dogs. The camera slowly pans Atanarjuat up and down. First the fur on his hood, then his torso enters the frame. Then a few seconds are spent showing his legs. The last time anyone from the community saw him he was running away, so it is symbolic that he is not being pulled by the dogs. Running towards his murderers demonstrates fearlessness, that he was not scared when he fled before but simply unwilling to risk losing what was an unfair fight. Now he is ready, rested, and fully clothed. Atanarjuat running back is also important because it is how he is first identified.

[3] The camera then shows Atuat walking with her young child. Her clothes are black and brown, and her hair is tangled. Most of the movie her hair has been neatly braided in the front and up in the back. Now, Atuat is dirty and unkempt. She is carrying hides and furs without any help. Women traditionally prepare the food; this is the first manual labor a woman is doing in the film. She stops and looks around as if she senses something. Atuat’s intuition ties in with the film’s theme of spirituality. She then hears a dog team in the distance and informs Panikpak, her spiritual grandmother.

[4] As the community gathers, wondering who is approaching, Puja states, “Only Atanarjuat runs like that.” His speed was a source of Oki’s jealousy and insecurities, so running also shows everyone Atanarjuat is just as strong and able as he once was. With this comment, Atuat pushes through the crowd of people and immediately begins running towards Atanarjuat and their young child follows. It is extremely important to note that the aforementioned scene is shot so the audience sees what Atanarjuat sees. When showing him running towards the community, the camera is behind him. Even when the camera focuses on Atuat and the baby, it is still from an angle in which Atanarjuat sees them. Atuat screams his name and the two immediately tackle one another upon meeting. Like when they were young playing the wolf game (18:25), they roll on the ground laughing. Atuat even says “I ‘wolf’ you.” Though they have spent months apart, the love between them has not changed. Not only is this seen by their heartfelt reunion, but he immediately reassumes his husbandly duties.

[5] Atanarjuat asks Atuat, “When would I ever let you dress as poorly as this?” as he cuts off her blackened, worn coat. He pulls a brand new coat from his sled: white and more embellished than any other woman’s in the community. This is the first injustice Atanarjuat rectifies. No man stepped up to take care of Atuat while he was gone because of her loyalty to him, but now he is back and able to provide for her. The camera pans back to the community and against the white backdrop and, compared to Atuat, all of their coats look brown like her old one. This contrast is meant to distinguish them as being unworthy and impure people, unlike Atuat and Atanarjuat who are now wearing the whitest and most extravagant attire.

[6] Now seeing that Atanarjuat is equipped with assets finer than anyone else, Puja runs towards him, exalting, “Atanarjuat my dear husband!” Although Puja has the whitest coat in the community, she gazes, expectantly upon him, awaiting her new coat. Atuat closely watches the exchange between them; she now stands in the background. There is an awkward pause between Puja and Atanarjuat. Nothing is said, she just looks at him smiling. He indifferently stares back, saying, “Look at you. Dressed so nicely.” With this, he cuts her coat just as he did with Atuat, insultingly exposing her breasts, and orders her to return to her friends: “Now you’re dressed as you deserve.” This is Atanarjuat’s way of righting his wrong to Atuat by taking Puja as his second wife and treating them differently. The camera then closes in on Atuat’s face. She watches Puja run away crying, expressionless, without sympathy. Puja does not even get sympathy from her brother after returning to the small crowd that has gathered to watch the reunion. With this, it is evident that the purpose of Atanarjuat’s return is to rectify all wrongs done. And settling the score with Oki is next. (see comment by Dana Shakked)

Comments

Dana Shakked 1/25/11

I agree that the scene symbolized Atanarjuat making up for his mistakes or lapses in judgment throughout the movie. But I also thought that the scene depicted the righting of wrongs by other characters. For instance, I thought that when Atanarjuat cut Puja’s coat it was basically giving her what she deserved. She was the reason that Oki and his friends murdered Atanarjuat’s brother and attempted to kill Atanarjuat. Regardless of Oki’s true intentions, whether they were to protect his sister or just to finally get back at Atanarjuat for winning Atuat’s love, Puja was the one who tried to sleep with Atanarjuat’s brother and the one who whined and cried to her family that Atanarjuat tried to kill her and claimed she “didn’t do anything.”