The new Western miniseries American Primeval on Netflix is not for the faint of heart. Directed by Peter Berg, it presents a stark depiction of life during the tumultuous years of 1857, a time rife with conflict among settlers, Indigenous peoples, and federal forces over disputed territories, particularly in southern Utah. The show’s opening episode features a particularly harrowing scalping scene, which has already become a topic of discussion among viewers. It follows Jacob Pratt, played by Dane DeHaan, a dedicated Mormon settler who becomes embroiled in a horrific wagon train massacre.
In an interview with The Hollywood Reporter, Howard Berger, the head of the makeup department, shared insights into the meticulous practical effects that brought this scene to life. He detailed the use of a two-piece prosthetic and an old-school blood pump to ensure authenticity. Notably, Berger has collaborated with Berg on previous projects such as Lone Survivor (2013) and is an Oscar-winning VFX artist recognized for his work in The Chronicles of Narnia and The Walking Dead. His commentary sheds light on the effort that went into replicating the brutal realities of the Utah War:
We had a piece underneath that had the blood bladder and looked like the top of his skull, and a piece with a full wig that glued down onto Dane that we could cut and pull up. If you’re slicing the top of somebody’s head off, it’s going to gush. There’s a lot of capillaries up there. And you do things that are cinematic, but I’ve done so much the last 41 years, I have a good sense of how much it would be.
The trick is knowing when to hit the blood. The second the knife went near Dane’s forehead, I started pumping, so when he pulled back, the blood had already exploded out of the top of his head.
Dane DeHaan also offered his perspective on the experience of working with the prosthetic effects:
I’m wearing makeup that looks like my normal makeup, and then they had a tube that went down my back that they just pumped blood out of. The guy that scalped me came behind me, pretended to cut me as he was peeling it up, and there was someone offset basically with a dynamite plunger of blood.
Understanding the Impact of Jacob’s Scalping in American Primeval
Violence That Characterizes the Frontier
American Primeval delves deep into one of the most tumultuous chapters in American history, starting with the genuine Mountain Meadows Massacre—a tragic event where a group of Arkansas settlers was brutally attacked while traversing southern Utah. Dane DeHaan’s character, Jacob, becomes a symbolic victim, left partially scalped and near death. This horrific injury serves as a critical plot point in his desperate quest to reunite with his wife. As his condition deteriorates, both physically and mentally, he is engulfed by the moral chaos surrounding him.
Berger’s commitment to practical effects, combined with DeHaan’s compelling portrayal, creates an intense realism that is almost unbearable. ScreenRant’s Nick Bythrow noted in his review that, “there was a point where the gritty realism became so overwhelming that I started to grow numb to its violence and gore.”This desensitization highlights the pervasive brutality that characterized Westward Expansion, immersing audiences in a harsh landscape where violence was a grim necessity.
Our Perspective on American Primeval’s Scalping Scene
A Vivid Blend of Realism and Practical Effects
Image via Netflix
In the realm of recent Western television, American Primeval distinguishes itself with its unwavering focus on violence. By employing practical effects, Berger and his team provide a visceral experience that is not only shocking but deeply real. DeHaan’s performance transcends mere spectacle; it serves as a stark reminder of the human toll associated with territorial expansion and the intricate narratives surrounding the land we occupy today. In this way, American Primeval challenges viewers to confront the uncomfortable realities of America’s past, demonstrating that the most impactful stories often force us to face the hard truths we would rather overlook.
Source: THR
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