One of Paramount Pictures' last silents finds spectacular settings for the early two-strip Technicolor (in use from 1922 to 1934), seen tonight in a recent Library of Congress preservation. Wing Foot lives deep in Canyon de Chelly, Arizona, an ideal location for a color process that emphasizes greens and reds. The storyline was obsessive across several silent films: an Indian leaves the reservation for a college campus (and, here, for black-and-white cinematography), where he mistakes friendliness on the sports field for equality-until he attracts white women. The spectator can take the separatist moral (“I'm going back to my people, where I belong”) as Native American pride or as warning against miscegenation. Wing Foot's education makes him rootless in either culture. When the conflict pits his Navajos against his girlfriend's Pueblos, the film finds another striking location for color in her home on Acoma Pueblo, New Mexico. (Visitors to Acoma today are led up the 1928 road carved in the previously inaccessible butte for Redskin's film equipment.) Wing Foot is played by Richard Dix, a white actor whose hard-jawed inexpressiveness registered as Indian stoicism, as in his previous Navajo role in The Vanishing American (1925). Casting notwithstanding, Redskin is the last Hollywood feature for twenty years to take a sympathetic look into Native American cultures.