Epic story about two former Texas rangers who decide to move cattle from the south to Montana. Augustus McCrae and Woodrow Call run into many problems on the way, and the journey doesn't ... See full summary »
Tommy Lee Jones,
Young Jim Craig returns to his home in the Australian high country. He finds that things are not as he left them - his girlfriend is being pursued by another man, and her father doesn't want Jim back into her life.
A young man (Cruise) leaves Ireland with his landlord's daughter (Kidman) after some trouble with her father, and they dream of owning land at the big giveaway in Oklahoma ca. 1893. When ... See full summary »
Lt. John Dunbar is dubbed a hero after he accidentally leads Union troops to a victory during the Civil War. He requests a position on the western frontier, but finds it deserted. He soon finds out he is not alone, but meets a wolf he dubs "Two-socks" and a curious Indian tribe. Dunbar quickly makes friends with the tribe, and discovers a white woman who was raised by the Indians. He gradually earns the respect of these native people, and sheds his white-man's ways. Written by
Greg Bole <email@example.com>
The highest grossing Western of all time, with a domestic take of $184 million. It achieved this figure without ever reaching #1 on the box-office charts. See more »
After Dunbar discovers Stands With A Fist far from her tribe, who is bleeding profusely from having accidentally cut her thigh too deeply in a widow's ritual, he loads her onto his horse and takes her back to her encampment. Upon arrival, while confronted by her people who view him as an interloper, he unloads her from his horse. Wind In His Hairs strides forward to retrieve her, grabbing her by the hand and dragging her unconscious body away from Dunbar. The problem here is that in a quick shot of the dragging sequence, you can see Stands With A Fist grasping onto Wind In His Hair's hand while he pulls her along - something she would not be able to do considering her current state of unconsciousness due to blood loss. See more »
[Ten Bears shows Dunbar an old Spanish Conquistador's helmet]
[in Lakota; subtitled]
The white men who wore this came around the time of my grandfather's grandfather. Eventually we drove them out. Then the Mexicans came. But they do not come here any more. In my own time, the Texans. They have been like all the others. They take without asking. But I think you are right. I think they will keep coming. When I think of that, I look at this helmet. I don't know if we are ready for these people. Our ...
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People who say this movie is long and boring have obviously never sat through, oh, "Lawrence of Arabia," "Patton," "Doctor Zhivago," "The Godfather," "Ran," "Seven Samurai," or probably even "Braveheart." Thank God that not every filmmaker believes that a car must explode every 10 seconds in order for his movie to be a success. Kevin Costner is one of those directors who prefers the long format. David Lean, Francis Coppola and Mel Gibson, to name a very few, also worked in that format, and produced lasting works of art that also packed theaters. There are plenty of options for people who don't like movies that take the time to build character, drama and suspense, movies like "Charlie's Angels: Full Throttle," "Freddy Vs. Jason," and "Weekend at Bernie's." I don't think any of those movies has ever been called "boring," but they sure are crap cinema.
Onward. "Dances With Wolves" thrilled audiences way back in 1990 and made so darn much money precisely because people had forgotten the pleasures of the long narrative, the Western genre, and movies that weren't special effects schlock-fests. It remains an inspiring and moving experience, especially on DVD, which preserves the movie's theatrical sound and picture quality.
Costner's direction is first-rate. He's able to blend intimate drama with big, sprawling action that covers a huge canvas. I'm amazed at how smoothly the film segues from movement to movement -- action, alienation, suspense, social commentary, romance. Heck, Spielberg could take a lesson or two from this movie.
He also gets great performances out of his cast. I don't think of these people as actors, but as the characters they play. That's a compliment not just to the actors themselves, but their director. And, yes, Costner is terrific as John Dunbar.
Sure, it's easy to call "Dances" politically correct w/ reference to the Indians. But it also treats them as people and, better yet, as fictional characters whose lives are made part of a fascinating narrative. I just consider all the complaints about the politics of this movie as total hogwash.
Finally, the movie is beautifully shot, has an unforgettable score, and is very well-written. I've never thought of "Dances" as a Western, but a modern action picture/character study that avoids all the boring cliches of the Western genre. Here is a movie that stands for something, means something, and deserves at least as much respect as some of the overrated dreck we've gotten saddled with lately.
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