| Photos (See all 15 | slideshow) |
| Paul Newman | ... | The Star (William 'Buffalo Bill' Cody) | |
| Joel Grey | ... | The Producer (Nate Salisbury) | |
| Kevin McCarthy | ... | The Publicist (Maj. John Burke) | |
| Harvey Keitel | ... | The Relative (Ed Goodman) | |
| Allan F. Nicholls | ... | The Journalist (Prentiss Ingraham) (as Allan Nicholls) | |
| Geraldine Chaplin | ... | The Sure Shot (Annie Oakley) | |
| John Considine | ... | The Sure Shot's Manager (Frank Butler) | |
| Robert DoQui | ... | The Wrangler (Oswald Dart) (as Robert Doqui) | |
| Mike Kaplan | ... | The Treasurer (Jules Keen) | |
| Bert Remsen | ... | The Bartender (Crutch) | |
| Bonnie Leaders | ... | The Mezzo-Contralto (Margaret) | |
| Noelle Rogers | ... | The Lyric-Coloratura (Lucille DuCharme) | |
| Evelyn Lear | ... | The Lyric-Soprano (Nina Cavallini) | |
| Denver Pyle | ... | The Indian Agent (McLaughlin) | |
| Frank Kaquitts | ... | The Indian (Sitting Bull) | |
| Will Sampson | ... | The Interpreter (William Halsey) | |
| Ken Krossa | ... | The Arenic Director (Johnny Baker) | |
| Fred N. Larsen | ... | The King of the Cowboys (Buck Taylor) | |
| Jerri Duce | ... | The Cowboy Trick Rider | |
| Joy Duce | ... | The Cowboy Trick Rider | |
| Alex Green | ... | The Mexican Whip and Fast Draw Act | |
| Gary MacKenzie | ... | The Mexican Whip and Fast Draw Act | |
| Humphrey Gratz | ... | The Old Soldier | |
| Pat McCormick | ... | The President of the United States (Grover Cleveland) | |
| Shelley Duvall | ... | The First Lady (Mrs. Grover Cleveland) | |
| Burt Lancaster | ... | The Legend Maker (Ned Buntline) | |
| rest of cast listed alphabetically: | |||
| Dennis Corrie | ... | Rancher (uncredited) | |
| Patrick Reynolds | ... | President Cleveland's Aide (uncredited) | |
Directed by | |||
| Robert Altman | |||
Writing credits | ||
| Arthur Kopit | (play "Indians") | |
| Alan Rudolph | (screen story and screenplay) & | |
| Robert Altman | (screen story and screenplay) | |
Original Music by | |||
| Richard Baskin | |||
Cinematography by | |||
| Paul Lohmann | (director of cinema photography) | ||
Film Editing by | |||
| Peter Appleton | |||
| Dennis M. Hill | (as Dennis Hill) | ||
Production Design by | |||
| Anthony Masters | (as Tony Masters) | ||
Art Direction by | |||
| Jack Maxsted | |||
Set Decoration by | |||
| Dennis J. Parrish | |||
Costume Design by | |||
| Anthony Powell | |||
Makeup Department | |||
| Monty Westmore | .... | makeup artist | |
Production Management | |||
| Les Kimber | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Rob Lockwood | .... | second assistant director | |
| Tommy Thompson | .... | assistant director | |
Art Department | |||
| Rusty Cox | .... | scenic artist | |
| Dennis J. Parrish | .... | property master | |
| Graham Sumner | .... | assistant property master | |
| Graham Sumner | .... | assistant set decorator | |
Sound Department | |||
| Chris McLaughlin | .... | sound | |
| Richard Oswald | .... | sound editor | |
| Richard Portman | .... | sound re-recording mixer | |
| William A. Sawyer | .... | sound editor (as William Sawyer) | |
| James E. Webb | .... | sound (as Jim Webb) | |
| Rob Young | .... | sound (uncredited) | |
Special Effects by | |||
| Logan Frazee | .... | special effects | |
| Terry D. Frazee | .... | special effects (as Terry Frazee) | |
| John Thomas | .... | special effects | |
| Bill Zomar | .... | special effects | |
| Joe Zomar | .... | special effects | |
Stunts | |||
| John Forster | .... | stunts (uncredited) | |
| Greg Walker | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Arthur Brooker | .... | grip (as Art Brooker) | |
| Edmond L. Koons | .... | camera operator (as Eddie Koons) | |
| J. Michael Marlett | .... | gaffer | |
| Jack L. Richards | .... | camera operator (as Jack Richards) | |
| Robert Reed Altman | .... | second assistant camera (uncredited) | |
| Peter Appleton | .... | featurette cinematographer (uncredited) | |
Costume and Wardrobe Department | |||
| J. Allen Highfill | .... | costume assistant | |
| Jules Melillo | .... | wardrobe | |
Editorial Department | |||
| Stephen Altman | .... | apprentice editor (as Steve Altman) | |
| Mark Eggenweiler | .... | apprentice editor | |
| Tony Lombardo | .... | assistant editor | |
| Tom Walls | .... | assistant editor | |
Other crew | |||
| Lyn Austin | .... | Broadway stage producer | |
| John Bianchi | .... | Buffalo Bill's gun belt by | |
| John Binder | .... | script supervisor | |
| Dino De Laurentiis | .... | presenter (as Dino DeLaurentiis) | |
| Maysie Hoy | .... | researcher | |
| Dan Perri | .... | title designer | |
| John Scott | .... | head wrangler | |
| Oliver Smith | .... | Broadway stage producer | |
| Roger L. Stevens | .... | Broadway stage producer (as Roger Stevens) | |
| Tommy Thompson | .... | production executive | |
| Norman Walke | .... | operator: titan boom | |
| Joe Thornton | .... | production assistant (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Western section | IMDb USA section |
This movie is certainly worth watching if you're an Altman fan, or a fan of revisionist Westerns. The performances are great (as per usual when Altman is at the helm) and the movie is entertaining enough on its own merits.
The two biggest flaws, though, are these: Compared to most of Altman's films, much of the dialogue in this movie is very "stagy" and theatrical. I suppose it's supposed to be that way because of the questions of "myth" and "legend" that the story concerns itself with, but my impression was that such theatrical-sounding dialogue didn't mesh well with Altman's typically naturalistic style of filming.
The other problem I had is that the whole subject matter -- myth vs. reality, history vs. reality, show business vs. reality, etc. -- isn't really explored with any depth or subtlety. We're constantly being reminded that Buffalo Bill is a man who created his own legend out of lies, and that that is the basis of modern show business to this day, but really, that just didn't strike me as being a particularly insightful observation. This is hardly the first movie to point out that lies are often more "real" (or more attractive) than the truth, and Altman doesn't seem to bring anything new to the table.
Still, it's Altman, which means it's well-made, entertaining and beautiful to look at. I don't think this will ever be considered one of his major works but it's certainly worth a look.