Dances With Wolves Reviews
unapologetic, rapacious greed (for which the people of One Nation Under God have made good - not) makes for a nice pass of time even if the lead characters are ironically Caucasians (though adopted by Native Americans). My favorite sequence: the sweeping Remington inspired Buffalo Hunt.
The obvious way to prey on Dances with Wolves would be to attack Costner's subsequent career. His later efforts behind the camera have left a lot to be desired, with Waterworld running hugely over budget and The Postman being the dictionary definition of tedious. His acting style and drawling delivery suggest a man who takes himself far too seriously, rivalling only Nicolas Cage for stony-faced absurdity. But a quick glance at his back catalogue reveals a slightly more complicated picture. Lest we forget, Costner was once an admired and popular actor, who acquitted himself perfectly well in No Way Out, The Untouchables and Field of Dreams. And for all the gaping flaws in his directorial efforts, you could never accuse him of going in with anything but the very best intentions.
The most obvious quality of Dances with Wolves is that it is very even-handed towards its subject matter. It approaches the relationship between Native Americans and American soldiers with the same restraint and intelligence that Clint Eastwood applied to the subject of revenge in Unforgiven. There has clearly been a lot of effort expended by Costner and the writer Michael Blake to get away from the clichéd depiction of Native Americans as a backward, violent people, who deserved everything they got from the brave, civilised white men driving them off the land in the name of God and Progress.
You also have to applaud Costner's ambition as a director. There are few actors, let alone big stars, who would have taken on such a big project first time out. Costner was shooting in mostly external locations for four months, including several elaborate sequences with hundreds of real horses and buffalo. His commitment was such that he nearly broke his back from doing his own stunts, and stumped up over $3m of his own money to cover the costs incurred by bad weather. Costner was prepared to take risks with Dances with Wolves, and that deserves praise regardless of whether the film works or not.
A further point of admiration comes in Costner's decision to have much of the dialogue spoken in the Lakota language. The fact that the film grossed more than $400m worldwide, and $184m domestically, is a massive raspberry to the notion that Western audiences won't pay to watch films that aren't in the English language. But it also proves that the respect for the different cultures within the film is genuine, not just a device for boosting Costner's artistic standing. This remains the case even after Russell Means pointed out the flawed translations, which left all the men in the film speaking in the female Sioux dialect.
In terms of the admiration it generates, Dances with Wolves is in the same league as Battle of Britain in terms of pure good will. But like Battle of Britain, this admiration does not guarantee good drama, and little by little Costner's film begins to look earnest to the point of being dul. It ends up stuck halfway between Unforgiven and Heaven's Gate, being neither as gripping nor elegiac as the former, nor as wretchedly pretentious as the latter. It never becomes as well-meaningly dull as Battle of Britain, but its flaws in terms of pacing and emotion cannot help but prey on our minds.
The first 45 minutes of Dances with Wolves are very slow and very portentous. Costner is clearly pulling out all the stops to make us admire and believe in the character of John Dunbar, but he ends up both trying too hard and not enough. The opening battle sequence features Costner attempting suicide by riding straight at the Confederate front line with his arms held out in a messianic pose - a decision which results in sniggers or sneers rather than feelings of empathy. In the various scenes that follow, where Dunbar is sent out to the frontier, too much effort is expended trying to express his bravery and not enough made on showing him as a rounded human being.
When I reviewed (500) Days of Summer, I argued that the presence of a narrator in any kind of film creates an element of certainty which can sometimes work against dramatic tension. In the case of Dances with Wolves, one could argue it is necessary since the diary is integral to the later stages of the plot. But while it is partially justified on a narrative level, Costner's delivery of it is frankly third-rate. His readings feel rushed and increasingly desperate, as he tries to convey the gravity of the situation without much success.
The narration aside, there is precious little about Dances with Wolves which is rushed. At just over 3 hours long (4 hours in its Director's Cut), comparisons with Heaven's Gate are unavoidable; the project was even nicknamed 'Kevin's Gate' after the production delays were leaked to the press. Costner's film is nowhere near as baggy as Heaven's Gate, let alone as self-serving, but it is every bit as drawn out, especially in its final act. Had Kevin gone through with a pair of scissors and lost even 30 seconds from every scene, it would have made a world of difference.
The biggest problem with Dances with Wolves is that it constantly tells us how important the events are without doing enough to show us why this is the case. There are many beautiful or poignant images throughout, from the hundreds of dead buffalo lying on the plains to the couple's departure from the winter camp. But these images don't carry the weight that they should because we haven't invested enough in the characters to make them any more than pretty compositions.
The film is so respectful towards the Sioux that it is almost hesitant to scratch the surface and ask the difficult questions about how their society works, such as the relationship between fathers and sons, and the position of women. This is understandable up to a point, considering the negative depiction of Native Americans in Hollywood throughout the 20th century - a fact which, if you believe Marlon Brando, led him to turn down his second Oscar. But you would think that if Costner were brave enough to embark on something of such scale and ambition, the last thing he would be worried about was mildly offending people.
Fortunately, the film does pick up after the first 45 minutes and has moments where the action and characters do take flight. Many of these scenes find Costner willing to let his hair down, whether it's dancing with Two Socks around the camp fire or giving audiences a clear view of his naked bottom. It is hard not to get swept up in the chases scene across the plains, diligently matched by John Barry's stirring score. And some of the lighter moments within the camp help us to relax as well; when Dunbar interrupts Kicking Bird's nearby lovemaking, Graham Greene's facial expression says it all.
The romantic aspect of Dances with Wolves is well-played for an epic, if only because the central relationship develops at a reasonable rate. We don't get that agonising sensation as in Out of Africa, where we know the characters are meant to kiss and are begging them to get on with it. The scenes of Stands with a Fist interpreting between Dunbar and Kicking Bird are well-played, serving their purpose while conveying the sexual tension between the characters. Their relationship conveys the conflicted identity of the central characters and the possibility of future harmony between the nations.
Dances with Wolves is ultimately a very middling film. It's too long to adequately serve its story, but not so long that we lose all patience with it. Its respect for its characters undercuts the drama, but not to the extent that we sit there drifting into a coma. And its direction is uninvolving, but not in an artsy, egotistical way. Calling it an average or ordinary film is to belie Costner's ambition, but any higher praise is impossible in light of its flaws. It remains significant but not stirring, admirable but not engaging, important but not profound.
Nothing has really beaten this film in terms of accuracy and honesty, its amazing what they achieved, even the animals are sublime. Most of the film is in native tongue ('Apocalypto' beats this in the fact its all in native tongue which was darn impressive) and the locations used are actually the correct real historic locations, not many sets used. Its a perfect film, romance, action, courage, revenge, tears, its very much an emotional roller coaster, but well worth it, you must see this before you die, its an actual history lesson.
I guess this movie romanticizes the natives, but eventually Dunbar identifies with the Sioux. He learns to understand the needs and fears of the Sioux. The scenes with Graham Greene (the holy man) and Mary McDonnell (a Caucasian who was captured as a child and is native now) are the strength of the movie. They embody the a respect for fellow man.
Because of this, in the encounter near the end of the movie between Dunbar and the soldiers, you cannot help but side with Dunbar - and hope for the Sioux when they come to rescue "Dances with Wolves". The ending is one of hope, where the movie could easily have been ended much more tragically.
Kevin Cosner plays Lt. John Dunbar and for a large majority of the movie he is by himself (and he is amazing and convincing), until he meets up with the Souix Band of Indians in the nearby plains.
Your forced to read the Indians dialgoue, inless you understand that language, but I wouldn't have it any other way as it makes the film completley realistic.
The scenery and lifestyle captured from a time that sadly has vanished long ago in this film is amazing and can be challenged by no other.
Dances with wolves is a great look into the history of the United States, the Souix Indians, and the beauty of the frontier. It's simply a masterpeice.
A historical drama about the relationship between a Civil War soldier and a band of Sioux Indians, Kevin Costner's directorial debut was also a surprisingly popular hit, considering its length, period setting, and often somber tone. The film opens on a particularly dark note, as melancholy Union lieutenant John W. Dunbar attempts to kill himself on a suicide mission, but instead becomes an unintentional hero. His actions lead to his reassignment to a remote post in remote South Dakota, where he encounters the Sioux. Attracted by the natural simplicity of their lifestyle, he chooses to leave his former life behind to join them, taking on the name Dances with Wolves. Soon, Dances with Wolves has become a welcome member of the tribe and fallen in love with a white woman who has been raised amongst the tribe. His peaceful existence is threatened, however, when Union soldiers arrive with designs on the Sioux land. Some detractors have criticized the film's depiction of the tribes as simplistic; such objections did not dissuade audiences or the Hollywood establishment, however, which awarded the film seven Academy Awards, including Best Picture.
Costner's Dances With Wolves is an aesthetically beautiful film that displays Hollywood's ability to represent changes in social perspective and the Indian myth. America's turn towards the sympathetic Western, initiated around the 1950's in such films as Delmer Daves's Broken Arrow (1950), helped alter the mainstream image of the American Indian and further develop the "noble savage" myth. It should be noted that Dances With Wolves is not an attempt to portray the history of the Sioux and their interactions with white men as an absolute truth, rather it is a symbolic work that explores the inner desire to find the American self as it relates to the Indian. Multiple myths intertwine through the narrative to weave a cinematic masterpiece that captures its audience's minds and astonishes them with its lush visuals. Hailed as a terrific film by those who see it, it is also a thought provoking film by those who study it.
The protagonist of the film, John Dunbar (Costner), is the vehicle for many statements about the search for a distinct American identity. The quest to find oneself in the wilderness and shed the stain of European ancestry is pivotal in the film. John Dunbar "goes Indian" and finds the Sioux way of life a truer model for a human being, devoid of the hypocrisies and evils of industrial WASP society. White to Red is developed throughout the film, and Costner delivers the transformation piecemeal, discarding Dunbar's uniform, language, loyalties, and eventually his name.
The film stands apart from much of the early Western genre in that the Indian is the benevolent good guy, and the white man is the enemy. Many polar relationships are at odds (and also viewed as American): industry and nature, nomad and settlement, innocence and decadence, Red and White. The film uses clever strategies to validate the Americanness of contradictory poles of each relationship dealing with Indian and Western myths. For example the contradiction between savage and noble Indian is treated by including both kinds of Indian myth-types. The Pawnee are shown as bloodthirsty warmongers, while the Lakota are seen as peace loving defenders of their hunting lands. This representation also affords the film the capacity to show American Indians as both good and bad guys. So the violence in the film elicits an identification with the good guys, which should startle the viewer from typical notions of the Indian myth. Can all Indians be bad? All they all good? Are only some tribal nations good? And if so, who determines which one are? Be sure to question any and all generalizations that you may recall about the American Indian when watching this film. Its vivid cinematography and musical score help create an epic story feel, as does its length of 3+ hours. Its length isn't cumbersome and allows a lot of material and character development due to its relaxed but captivating pace. I recommend Dances With Wolves not only on its technical and visual achievements, but especially with its treatment of the contradictions inherent in modern American perceptions about the history of its original inhabitants.