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| Sat. July 25 | 8:00 PM | AMC | |||
| Sun. July 26 | 4:00 PM | AMC |
| Kevin Costner | ... | Lieutenant Dunbar | |
| Mary McDonnell | ... | Stands With A Fist | |
| Graham Greene | ... | Kicking Bird | |
| Rodney A. Grant | ... | Wind In His Hair | |
| Floyd 'Red Crow' Westerman | ... | Ten Bears (as Floyd Red Crow Westerman) | |
| Tantoo Cardinal | ... | Black Shawl | |
| Robert Pastorelli | ... | Timmons | |
| Charles Rocket | ... | Lieutenant Elgin | |
| Maury Chaykin | ... | Major Fambrough | |
| Jimmy Herman | ... | Stone Calf | |
| Nathan Lee Chasing His Horse | ... | Smiles A Lot | |
| Michael Spears | ... | Otter | |
| Jason R. Lone Hill | ... | Worm | |
| Tony Pierce | ... | Spivey | |
| Doris Leader Charge | ... | Pretty Shield | |
| Tom Everett | ... | Sergeant Pepper | |
| Larry Joshua | ... | Sergeant Bauer | |
| Kirk Baltz | ... | Edwards | |
| Wayne Grace | ... | Major | |
| Donald Hotton | ... | General Tide | |
| Annie Costner | ... | Christine | |
| Conor Duffy | ... | Willie | |
| Elisa Daniel | ... | Christine's Mother | |
| Percy White Plume | ... | Big Warrior | |
| John Tail | ... | Escort Warrior | |
| Steve Reevis | ... | Sioux #1 / Warrior #1 | |
| Sheldon Peters Wolfchild | ... | Sioux #2 / Warrior #2 (as Sheldon Wolfchild) | |
| Wes Studi | ... | Toughest Pawnee | |
| Buffalo Child | ... | Pawnee #1 | |
| Clayton Big Eagle | ... | Pawnee #2 | |
| Richard Leader Charge | ... | Pawnee #3 | |
| Redwing Ted Nez | ... | Sioux Warrior | |
| Marvin Holy | ... | Sioux Warrior | |
| Raymond Newholy | ... | Sioux Courier | |
| David J. Fuller | ... | Kicking Bird's Son | |
| Ryan White Bull | ... | Kicking Bird's Eldest Son | |
| Otakuye Conroy | ... | Kicking Bird's Daughter | |
| Maretta Big Crow | ... | Village Mother | |
| Steven Chambers | ... | Guard (as Steve Chambers) | |
| William H. Burton | ... | General's Aide | |
| Bill W. Curry | ... | Confederate Cavalryman | |
| Nick Thompson | ... | Confederate Soldier | |
| Carter Hanner | ... | Confederate Soldier | |
| Kent Hays | ... | Wagon Driver | |
| Robert Goldman | ... | Union Soldier | |
| Frank P. Costanza | ... | Tucker | |
| James A. Mitchell | ... | Ray | |
| R.L. Curtin | ... | Ambush Wagon Driver | |
| Justin | ... | Cisco | |
| Teddy | ... | Two Socks - a Wolf | |
| Buck | ... | Two Socks - a Wolf | |
| rest of cast listed alphabetically: | |||
| Michael Horton | ... | Captain Cargill - extended version | |
| Jim Wilson | ... | Doctor (uncredited) | |
Directed by | |||
| Kevin Costner | |||
Writing credits(WGA) | ||
| Michael Blake | (screenplay) | |
| Michael Blake | (novel) | |
Produced by | |||
| Bonnie Arnold | .... | associate producer | |
| Kevin Costner | .... | producer | |
| Jake Eberts | .... | executive producer | |
| Derek Kavanagh | .... | line producer | |
| Jim Wilson | .... | producer | |
Original Music by | |||
| John Barry | |||
Cinematography by | |||
| Dean Semler | (director of photography) | ||
Film Editing by | |||
| William Hoy | |||
| Chip Masamitsu | |||
| Steve Potter | (as Stephen Potter) | ||
| Neil Travis | |||
Casting by | |||
| Elisabeth Leustig | |||
Production Design by | |||
| Jeffrey Beecroft | |||
Art Direction by | |||
| William Ladd Skinner | (as Wm Ladd Skinner) | ||
Set Decoration by | |||
| Lisa Dean | |||
Costume Design by | |||
| Elsa Zamparelli | |||
Makeup Department | |||
| Tammy Ashmore | .... | assistant makeup artist | |
| David Atherton | .... | key makeup artist | |
| Linda Bowman | .... | assistant hair stylist | |
| Patricia Carrisosa | .... | first assistant makeup artist | |
| Elle Elliott | .... | chief hair stylist | |
| Tea Jay Glass | .... | assistant makeup artist | |
| Terri Goett | .... | assistant makeup artist | |
| Deborah Mills Gusmano | .... | assistant hair stylist (as Deborah Mills-Gusmano) | |
| Tamara Guthrie | .... | key hair stylist | |
| Karin Hayes | .... | assistant makeup artist | |
| Heather Matisoff | .... | assistant hair stylist | |
| Beth Miller | .... | assistant hair stylist | |
| Francisco X. Pérez | .... | chief makeup artist (as Frank Carrisosa) | |
| Linda Peterson | .... | assistant hair stylist | |
| Joani Yarbrough | .... | hair stylist | |
Production Management | |||
| Michael J. Harker | .... | post-production supervisor (4 hour and TV versions) | |
| Derek Kavanagh | .... | unit production manager | |
| Robert Fitzgerald | .... | post-production supervisor (uncredited) | |
Second Unit Director or Assistant Director | |||
| Linda Brachman | .... | second second assistant director (as Linda J. Brachman) | |
| Stephen P. Dunn | .... | second assistant director | |
| David Fudge | .... | dga trainee (as David A. Fudge) | |
| John Huneck | .... | second unit director | |
| Doug Metzger | .... | first assistant director (as Douglas C. Metzger) | |
| Philip C. Pfeiffer | .... | second unit director | |
Art Department | |||
| Ron Ashmore | .... | lead painter | |
| Steven K. Barnett | .... | on-set dresser | |
| Dave Best | .... | foreman: Fort Hayes | |
| Ivica Bilich | .... | second assistant propmaster | |
| Chuck Bludsworth | .... | second assistant propmaster (as Charles Bludsworth) | |
| Bradford Booth | .... | stand-by greens (as Brad Booth) | |
| James Allen Bradley | .... | swing gang (as James A. Bradley) | |
| Steve Burg | .... | illustrator | |
| John C. Cameron | .... | assistant property master (as John Cameron) | |
| Patrick Cassidy | .... | leadman (as Patrick T. Cassidy) | |
| Paul Clark | .... | greens laborer | |
| Jay B. Curry | .... | swing gang | |
| Monte Curry | .... | local foreman | |
| Robert Des Jarlais | .... | stand-by carpenter | |
| Bill DeYonge | .... | local foreman | |
| Al Eylar | .... | construction foreman | |
| Reed A. Finch | .... | carpenter | |
| Charles Fogg | .... | greens laborer | |
| Kerry J. Frosh | .... | carpenter | |
| Dawna Gravatt | .... | labor foreman | |
| Jeff Hartmann | .... | swing gang foreman | |
| Paul Arthur Hartman | .... | set dresser (as Paul Aurther Hartman) | |
| Darryl Hayes | .... | swing gang | |
| Jim Hill | .... | construction foreman | |
| Marvin Holy | .... | stand-by carpenter | |
| J.R. Kussman | .... | props assistant | |
| Dayna Lee | .... | set dresser | |
| Patrick Mollman | .... | carpenter | |
| Len Morganti | .... | illustrator (as Leonard Morganti) | |
| Andrew Precht | .... | model maker | |
| Richard Puga | .... | scenic painter | |
| Dave Roden | .... | mill man | |
| Thomas Michael Ryan | .... | foreman: Fort Hayes | |
| Jim Steere | .... | scenic painter | |
| Scott A. Stephens | .... | property master | |
| Robert A. Sturtevant | .... | shop foreman (as Bob Sturtevant) | |
| Patrick Thoms | .... | stand-by scenic painter (as Patrick S. Thoms) | |
| Stephanie Waldron | .... | greens supervisor | |
| Ward Welton | .... | head scenic painter | |
| Dwain Wilson | .... | on-set dresser (as Dwain F. Wilson) | |
| Ben Zeller | .... | construction coordinator | |
| Carl Zeller | .... | crew boss | |
| Greg Aronowitz | .... | fabricator for props master (uncredited) | |
Special Effects by | |||
| Howard Berger | .... | buffalo effects supervisor | |
| Michael Bolan | .... | special effects assistant | |
| Joseph E. Knott | .... | special effects assistant | |
| Robbie Knott | .... | chief special effects | |
| Robert Kurtzman | .... | buffalo effects supervisor | |
| Gregory Nicotero | .... | buffalo effects supervisor (as Greg Nicotero) | |
| Shannon Shea | .... | buffalo effects supervisor | |
| John K. Stirber | .... | first assistant special effects | |
| Nick Benson | .... | special effects (uncredited) | |
| Scott Oshita | .... | special effects (uncredited) | |
| John Teska | .... | special creature effects: stunt buffalo, KNB (uncredited) | |
Visual Effects by | |||
| Robert D. Bailey | .... | matte camera crew (as Robert Bailey) | |
| Paul Curley | .... | matte camera crew | |
| Rocco Gioffre | .... | matte painting crew | |
| Matthew Yuricich | .... | matte painting crew | |
| Monty Phillips | .... | digital artist (uncredited) | |
Stunts | |||
| James Augare | .... | stuntman | |
| William H. Burton | .... | stuntman | |
| Steven Chambers | .... | stuntman (as Steve Chambers) | |
| Jason Charger | .... | stuntman | |
| Leonard Charger | .... | stuntman | |
| Danny Costa | .... | stuntman | |
| Loren Cuny | .... | buffalo hunting stunts | |
| Ricky DeHorse | .... | stuntman | |
| Duffy Ducheneaux | .... | stuntman | |
| Robbie Dunn | .... | stuntman (as Robby Dunn) | |
| H.P. Evetts | .... | stuntman | |
| Billy Joe Fredericks | .... | buffalo hunting stunts | |
| Jeff Fredericks | .... | buffalo hunting stunts | |
| Pete Fredericks | .... | buffalo hunting stunts | |
| Terrance Eugene Fredericks | .... | stuntman | |
| Rusty Hendrickson | .... | stuntman | |
| Kanin Howell | .... | stuntman | |
| Norman Howell | .... | stunt coordinator (as Norman L. Howell) | |
| Norman Howell | .... | stunt double: Mr. Costner (as Norman L. Howell) | |
| Shawn Howell | .... | stuntman | |
| Tim Jacobs | .... | buffalo hunting stunts | |
| C.L. Johnson | .... | stuntman | |
| Dan Koko | .... | stuntman | |
| Gumbo Lamb | .... | buffalo hunting stunts | |
| Wade Livermont | .... | stuntman | |
| Bruz Luger | .... | buffalo hunting stunts | |
| Jody Luger | .... | buffalo hunting stunts | |
| Alvin William 'Dutch' Lunak | .... | stuntman (as Alvin 'Dutch' Lunak) | |
| Steve Martin | .... | stuntman (as Steven Earl Martin) | |
| Cliff McLaughlin | .... | stuntman | |
| James Pratt | .... | stuntman (as Jim Pratt) | |
| Erik Rondell | .... | stuntman | |
| Fred Skaggs | .... | buffalo hunting stunts | |
| Tater Ward | .... | buffalo hunting stunts | |
Casting Department | |||
| Susan Brown | .... | casting assistant | |
| Catherine 'Kitty' Duffy | .... | extras casting assistant | |
| Rene Haynes | .... | extras casting | |
| Ka-Mook Nichols | .... | extras casting assistant (as Darlene 'Ka-Mook' Nichols) | |
| Jory Weitz | .... | casting: New York (uncredited) | |
Costume and Wardrobe Department | |||
| Ron Beebe | .... | costume assistant | |
| Birgitta Bjerke | .... | costume supervisor | |
| Julia Gombert | .... | assistant costume supervisor | |
| Barbara Gordon | .... | set costumer | |
| Cathy Smith | .... | costume construction | |
| Zara Turgel | .... | costume assistant (uncredited) | |
| Ronald Walkshorse | .... | wardrobe assistant (uncredited) | |
Editorial Department | |||
| Gary Burritt | .... | negative cutter | |
| Robert C. Lusted | .... | assistant editor | |
| Eric O. Schusterman | .... | apprentice editor | |
| Albert Coleman | .... | assistant editor (tv version) (uncredited) | |
| Mike Stanwick | .... | color timer (uncredited) | |
Music Department | |||
| John Barry | .... | conductor | |
| John J. Coinman | .... | music supervisor (as John Coinman) | |
| Cliff Kohlweck | .... | music editor (as Clif Kohlweck) | |
| Susan McLean | .... | scoring recordist | |
| Greig McRitchie | .... | orchestrator (as Greig McRichie) | |
| Shawn Murphy | .... | music scoring mixer | |
| Porcupine Singers | .... | performers: traditional music | |
| David Foster | .... | music producer (uncredited) | |
| Mark McKenzie | .... | additional orchestrator (uncredited) | |
| Malcolm McNab | .... | musician: solo trumpet (uncredited) | |
Transportation Department | |||
| J. Wesley Adams | .... | driver (as James Wesley Adams) | |
| J.R. Allen | .... | driver | |
| Dan Dooley | .... | driver | |
| Dana Duffy | .... | driver | |
| Bernie Duffy Jr. | .... | driver | |
| Courtney Field | .... | driver | |
| Ron M. Field | .... | driver | |
| Phil H. Fravel | .... | driver | |
| Carter Hanner | .... | driver | |
| Craig M. Hofstrand | .... | driver (as Craig Hofstrand) | |
| Wayne Jones | .... | transportation co-captain | |
| Scott Kelly | .... | driver | |
| Jolene Kusser | .... | driver | |
| Todd A. MacDonald | .... | driver (as Todd 'Dumbo' MacDonald) | |
| Brian Maguire | .... | driver | |
| Ron R. Merritt | .... | driver | |
| Robert Molitor | .... | driver | |
| Michael Nielsen | .... | driver | |
| Matt O'Toole | .... | driver | |
| Jim Petti | .... | driver (as James Petti) | |
| Jonathan A. Rosenfeld | .... | transportation captain (as Jonathan Rosenfeld) | |
| Gary Shuckahosee | .... | driver (as Gary Shuckhosee) | |
| David Siegel | .... | transportation coordinator | |
| Brian Steagall | .... | driver | |
| William Robert Stevens | .... | driver (as William Robert 'BS' Stevens) | |
| Chris Summerell | .... | driver | |
Thanks | |||
| Roy Houck | .... | special thanks: Triple U Standing Butte Ranch | |
| Kay Ingles | .... | special thanks: Triple U Standing Butte Ranch | |
| Gary Keller | .... | special thanks: South Dakota Film Commission | |
| Bill Lindström | .... | special thanks | |
| George S. Mickelson | .... | special thanks (as Honorable Governor George S. Mickelson) | |
| Linda Mickelson Graham | .... | special thanks (as Mrs. George S. Mickelson) | |
| Kevin Reynolds | .... | special thanks | |
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It's hard for me to believe that fourteen years have passed since I first saw this movie. I was only ten at the time, and this was the first movie I ever saw that was both an eye-filling and a mind-filling spectacle.
It was also one of only two theater-going experiences that I ever had with my late grandmother, and I always think of her when I watch this movie. It always takes me back to an earlier time in my life no matter how many times I see it.
This is one movie that could only have been made in the post-Vietnam era, when Americans began to question the moral integrity of their country. How else to explain, in the opening sequence depicting the Civil War, the utter cynicism of the soldier who speaks with Costner's Dunbar character? Or Dunbar's later observation that "there was no dark political objective" to the Sioux battling the Pawnee?
The scene in which Dunbar receives his orders from the mentally ill major also seems to speak of Vietnam, the point being I think that while an entire generation of young men was being cut down in the Civil War the West was being managed by those who were not fit for duty in the larger conflict. Maury Chaykin, in that one scene, gives one of the most memorable and haunting performances I've seen in any film.
This movie's depiction of Native Americans is not nearly as politically correct as it may seem to those who watch it only once or only at a superficial level. In the very first scene depicting Indians, in fact, a Pawnee brave shoots one of the white characters full of arrows and then scalps him. The unrepentant villainy of Wes Studi's character, in particular, recalls the moral simplicity of countless earlier Westerns.
Even the most sympathetic Indian character in the movie, Kicking Bird, is not kind to Dunbar merely to be friendly but because he believes he can get useful information out of the white soldier about the other whites who are encroaching on Sioux territory. The interaction between Dunbar and the Sioux is powerfully effective precisely because the Sioux remain true to themselves. They are not cartoonishly hostile like the Indians depicted in old Westerns, but they are not soft or naïve either.
While this movie draws its inspiration from American epics as diverse as The Birth of a Nation (1915) and The Searchers (1956), its originality lies not only in its respect for Native Americans but also in its intensely personal treatment of the main character. Few other three-hour epics (Lawrence of Arabia and Braveheart come to mind ) have developed their protagonists as fully and dynamically as this movie develops Costner's Dunbar character.
Even after fourteen years, the Dunbar character's arc, going from a suicidal soldier in the opening sequence to an adopted Sioux who in the final scenes puts the needs of his people ahead of his own, is still one of the most remarkable I've seen in any movie. Costner's performance won no awards that I know of, but it provides the movie's indispensably tight focus. He's completely convincing every step of the way, if a bit too clumsy and self-effacing at times, hitting his head in the dark and fainting after a confrontation in a heavy-handed attempt to demystify the West.
Another quality this movie shares with The Searchers is that it associates the physical challenges of the frontier with the testing of the soul. The Dunbar character cleans out the watering hole at the fort because he refuses to lose his humanity like the men before him who abandoned the fort. Later he cannot decide whether he feel more or less at home in the presence of the Sioux, because he is struggling to remain true to himself even as he remains unsure of who he is.
This movie probably disappoints viewers who are looking for sheer entertainment. It's a quiet, thoughtful story, and although there is action in it the focus is on how the action transforms the characters (particularly Dunbar) rather than on the action itself. You won't see any computer-generated comic-book characters in this movie, but you will see real people having real conversations, and you'll see Costner and costar Mary McDonnell engaging in such intimate and convincing love scenes that you'll forget they're acting!
If I could rate the musical score for this movie by itself I'd give it a perfect 10, because it's one of the best I've ever heard, able to stand on its own but fitting the movie like a glove. It is sentimental without being schmaltzy, noble without being pretentious. Best of all, it captures the hesitant emotions of the story, the sense of curiosity overcoming fear and becoming trust.
Only this movie's extreme length works against its total success, particularly in the special edition that runs nearly four hours. The three-hour theatrical version is still long, but it's difficult to say what should have been left out of it.
Some people still resent the fact that Costner won the Best Director Oscar over Scorcese's Goodfellas. There's no question that Scorcese is the better director, but I believe the direction of Dances With Wolves is better than that of Goodfellas. If you disagree with me try this test: imagine that Scorcese did this movie, and Costner directed Goodfellas. It's a question of which directing job is better, not which director is better.
Unlike most epics, this movie ends exactly as it should. The final images, such as the journal floating down the river, the white man and the Native American speaking English to each other, and the brave shouting his farewell from the top of a cliff, are so beautiful and dreamlike that they manage to be both joyful and sad. This is a movie that looks into the very fabric of this country's past, and asks us to do the same.
Rating: 10 (Good job, everybody.)