The Manitou’s Canoe: Not Much Was Learned

Nearly a quarter-century after The Manitou’s Shoe, the characters Abahachi (Michael Bully Herbig) and Ranger (Christian Tramitz) ride again across the cinema screen — this time in IMAX, bigger than ever. The Canoe of Manitu is the first German IMAX feature, though it seems the film’s commercial success of its predecessor was the main driver rather than the film’s own quality.

In the Western comedy, Abahachi and Ranger are condemned to death for false accusations, only to learn that this is part of a plan by the still unnamed seven-member gang led by the “Boss” (Jessica Schwarz) who has set sights on the titular canoe. Thanks to Dimitri (Rick Kavanian) and his new employee/paramour Mary (Jasmin Schwiers), they manage to escape at first, but with the gang on one side and the Sheriff (Friedrich Mücke) and his Deputy (also Rick Kavanian) on the other, it doesn’t take long before the four friends find themselves in trouble again. Additionally, the bond of the “blood brothers” is strained by secrets about their respective family ties.

Flat Humor and a Heavy Dose of Nostalgia

The plot, following the template of a classic adventure film, is intermittently interrupted—as in the first film—by humorously staged musical interludes, as well as by the occasional deviation from the course intended to provoke laughter through its sheer absurdity. For some viewers this may work; for others it becomes tedious quickly due to its sheer volume. The humor tone hasn’t changed much from its predecessor: there are visual gags that interpret metaphors literally, pop-culture references, slapstick, flying wooden splinters, and, of course, urine- and fecal-humor. The density of flat sex jokes has thankfully decreased, replaced by more nods to aging. A hefty dose of nostalgia is also part of the mix.

Only breaking the fourth wall and the new “extra” Wolfgang (Merlin Sandmeyer) provide a little variety. Accents — not just Bavarian but also Saxon — speech impediments and stereotypical portrayals are there to elicit laughs, but unfortunately they continue to punch downward, likely leaving many viewers with an uncomfortable taste. In particular, jokes that target people with disabilities and racist gaffes seem to still be in vogue.

Ranger as “Old White Man”
At several points the film attempts self-critique. Ranger is described as an “old white man,” and there are repeated references that the I-word should no longer be used — though the term is still spoken. Sexism is thankfully hardly deployed as a “humor” element and is even addressed directly when the Boss complains that Wolfgang would probably only ask for soup because she is a woman. The female characters are generally portrayed as strong and capable. It’s a pity that their arc still ultimately leads into the arms of a man.

Apart from them, Abahachi’s gay twin Winnetouch (also Michael Herbig) appears to be the only character who is competent enough to look after himself and help others out of trouble. In that sense, Herbig’s claim that Winnetouch is “the most emancipated character of them all” carries some truth. The stereotypical, pink-tinted portrayal of the character otherwise hasn’t changed much. Yet he receives almost no screen time and thus no room for emotional depth. This is most evident when compared to the evolving romance between Dimitri and Mary, which unfolds across the runtime and even earns a dedicated musical number. The fact that Winnetouch also finds a partner is only revealed in the final voice-over, with no on-screen interaction between the two. Homoerotic undertones between Abahachi and Ranger as well as the Sheriff and his Deputy are used as jokes.

Irresponsible Wild West Fantasies
The film’s overarching problem, however, lies in its quirky handling of Germany’s fascination with Native Americans. It acknowledges that Abahachi isn’t a “real Apache,” yet immediately offers a workaround so that no one need feel bad about having previously played “Cowboy and Indian” or indulged in Western fantasies: lineage doesn’t matter; what matters is who feels Apache in their heart, so they can claim belonging. It reaches a peak of absurdity when Abahachi/Herbig tells a group of Native Americans, “Since I can remember, I wanted to be like you,” and they reassure him that he remains part of them and their “chief.”

I welcome the message that no one should be judged by their origins. Yet considering the substantial number of white Germans who still engage in redfacing in their spare time and attend “Powwows” or Karl May festivals, a phenomenon Hartmut Lutz — a professor of American studies — has labeled as “Indian enthusiasm” — this stance can feel like a repudiation of accountability for Wild West fantasies. The charges of cultural appropriation, overidentification, and romanticization of colonial projections can be dismissed with the simple assertion that we’re all “brothers in spirit.” So to present a 2025 film in which a white man in a poorly styled wig and leather costume bounds across the screen feels, at best, misguided.

Still, one might hope that after such a (misplaced) conciliatory moment with the franchise, the matter would be put to rest; however, the brief post-credits scene hints that more installments could follow.