| Photos (See all 67 | slideshow) | Videos (see all 18) |
| 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 | |
| J. Wesley Adams | ... | Settler (uncredited) | |
| 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 | |
| Tamara Guthrie | .... | key hair stylist | |
| Karin Hayes | .... | assistant makeup artist | |
| Heather Matisoff | .... | assistant hair stylist | |
| Beth Miller | .... | assistant hair stylist | |
| Deborah Mills-Whitlock | .... | assistant hair stylist (as Deborah Mills-Gusmano) | |
| Linda Peterson | .... | assistant hair stylist | |
| Francisco X. Pérez | .... | chief makeup artist (as Frank Carrisosa) | |
| 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 | |
| Paul Arthur Hartman | .... | set dresser (as Paul Aurther Hartman) | |
| Jeff Hartmann | .... | swing gang foreman | |
| 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 | |
| David Beneke | .... | creature effects: Buffaloes (uncredited) | |
| Nick Benson | .... | special effects (uncredited) | |
| Adam Jones | .... | 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 | |
| Tom Boyd | .... | musician: oboe soloist (uncredited) | |
| David Foster | .... | music producer (uncredited) | |
| Mark McKenzie | .... | additional orchestrator (uncredited) | |
| Malcolm McNab | .... | musician: solo trumpet (uncredited) | |
| James Thatcher | .... | musician: French horn (uncredited) | |
| James Thatcher | .... | musician: french horn (uncredited) | |
Transportation Department | |||
| J. Wesley Adams | .... | driver (as James Wesley Adams) | |
| J.R. Allen | .... | driver | |
| Dan Dooley | .... | driver | |
| Bernie Duffy Jr. | .... | driver | |
| Dana Duffy | .... | 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 | |
| Linda Mickelson Graham | .... | special thanks (as Mrs. George S. Mickelson) | |
| George S. Mickelson | .... | special thanks (as Honorable Governor George S. Mickelson) | |
| Kevin Reynolds | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb USA section |
`Dances With Wolves'
When I first saw the movie Dances With Wolves several years ago the story affected me in a heavy way, so much so that I decided that it would be a long time before I watched it again. The story is not entertainment. It is a lesson. Last week I watched the movie again with a new understanding. Many of the published reviews seem to dislike the movie for various reasons. They are the ones that missed the point of the story.
The story is, of course, fiction based on a novel by Michael Blake. Fortunately, Michael Blake also wrote the screenplay for the movie insuring fidelity with his vision. To the credit of Kevin Costner, who was one of the producers and the director, he allowed the story to be what Michael Blake had originally created. Costner showed great sensitivity in not only capturing the personalities of all the major characters, but making the land itself (in this case South Dakota) one of the major players.
The land was not just a backdrop or playing field. It was the main character and very much alive. The cinematography was some of the best I've ever seen and in the tradition of the great movie director, John Ford. Ford had an ability to present the land in all its beauty, which also just happened to have a story occurring on it.
In Dances With Wolves, the land of South Dakota might initially appear to be a bleak place, but as Lieutenant Dunbar (Costner) spends more time at his isolated fort, he somehow slowly merges his soul with the surrounding territory. The life on the land eventually stumbles onto his location, including a wolf and a tribe of Sioux. The Sioux and Dunbar mistrust each other initially but through curiosity learn how to communicate with each other, however painfully slow. The wolf too was curious about the soldier, but kept his distance for a while. Finally, the wolf trusts Dunbar enough to play with him on the prairie. The Sioux see them playing. Here was a white man not killing the animals. He had earned a new name: Dances-With-Wolves.
The main difference between this movie and a John Ford movie was the way Costner humanized the Sioux characters. In a John Ford movie, most Indians were the enemy. The only 'good' Indians were the cavalry scouts, but we never really met these scouts as people. John Ford hired Navaho people to play the parts of Indians in his cavalry trilogy, Fort Apache, She Wore a Yellow Ribbon and Rio Grande, which were filmed in Monument Valley on the Navaho Reservation. Years later, Ford attempted to humanize the Native Americans in a movie called Cheyenne Autumn, but by then Ford was an old man and had lost most of his creative genius. It is a hard movie for me to watch.
Costner's movie takes great pains to allow us to know the Sioux characters. The story is about them as seen through the eyes of a perceptive white man, who had been given a new life by the gods when his attempt at suicide ended with his recognition as a war hero.
What I see when I watch the movie: I see ten thousand years of evolution and experience of a human tribe on the North American continent with the most recent characters at the leading edge of the current (1860) time. The character's lives are so well presented that I sense the history of their past In other words, I understand why they do what they do. What depresses me about the movie is that I know the ending but the characters don't. I know that their natural way of life is coming to an end. The characters don't know. To me, the movie is a story of the 4 billion, six hundred million years of natural evolution which is about to meet technology. Technology will be as devastating to this tribe and the land as if an asteroid had hit the earth.
The beauty of the Sioux life is so precisely shown in this movie. Their everyday routine of just living off the land is seen the same way as a buffalo eating the grass. The Sioux adapted to the land the way it was. You see the grass move in waves like the ocean does when the invisible winds touch the surfaces. You see the effects of the same winds that blow across the face and hair of Stands-With-a-Fist. You hear the same winds. The same winds take the smoke from the lodges away from the village. The land and air and life merge in a poetic movement.
The horses seem more natural and free in their herd next to the village. They are part of the tribe. You can see the magnificence of the Sioux riders as they become one with the horse as they hunt the buffalo. I suppose, in a way, the horse was a step in technology for the Sioux since they didn't have the horse until the Spanish Conquistadors brought them. But when they adapted their life to the horse, they became a great people. I look at it as a step in evolution, not a step in technology.
We find that the holy man, Kicking-Bird, played by Graham Green, was a hen-pecked husband, something we can all identify with no matter what race or ethnic group. His wife saw more than he did, especially the budding love between Lieutenant Dunbar and Stands-With-a-Fist, who was played by the heavy-duty stage actress Mary McDonnell. She is important to our story because we understand the Sioux from her translations. As an actress, she was so convincing in her struggle to remember long forgotten English words from her childhood, from the time before she came to live with the Sioux. Kicking-Bird on the other hand represented the soul of the Sioux People. He was patient and was the type of person you would want as a friend.
We have Rodney Grant playing the part of Wind-in-His-Hair, the warrior who was quick to anger but was smart enough to listen to his elders and not kill the white soldier. Rodney Grant represented the beauty and pride of the Sioux People. He speaks the last relevant words in the story by proclaiming that he is the friend of Dances-With-Wolves. Before Dunbar became Dances-With-Wolves, Wind-in-His-Hair would have been happy to kill him.
`Red Crow' Westerman played the part of the chief, Ten-Bears. We've seen him play the part of a shaman in other movies. He represented the wisdom and of the Sioux People and was also their prophet.
What movie about Native Americans could be told without Wes Studi? In this movie he plays the enemy Pawnee so convincingly that you really hate him. Not only is he the enemy to the white man but the Sioux also. Wes Studi can be very intense in his savagery, but in the eyes of the Pawnee, he was only protecting his tribal interests.
So we see the Sioux and, to a lessor degree, the Pawnee in their soon-to-end natural states. We immediately feel at home with the Sioux. The Pawnee aren't quite as lovable, especially when we see Wes Studi scalping the muleskinner. The first disturbing scene is when the Pawnee attack the Sioux village and we see that to save themselves, the Sioux need the technology (the rifles) of the white soldier. The Pawnee were so fierce looking (again convincingly by Wes Studi) that we fear for the Sioux tribe but see that the rifles are out of place in this natural world. It is another technological step in the same magnitude as the horse. But for all their beauty and greatness, we know they cannot win the final battles with the white civilization because they are so grossly outnumbered.
There is the core of the problem. The over-population of the modern civilization overruns their own land so they come to the land of the Sioux and destroy without asking. You could see it in the face of every tribal member as they walked past dead and skinned buffalo which were left to rot in the sun after the buffalo hunters had skinned them for their hides. They were absolutely stunned and sick at the sight. Whoever did this had no soul. I extend the message of this movie to today and see population running amuck, stripping the land of resources and changing the atmosphere. It is too painful to contemplate.
To emphasize the loss and waste of the beautiful prairie life, near the end of the movie we see the soldiers shooting at the wolf for fun. The wolf is confused and doesn't understand that bullets are hitting near him. Eventually a bullet strikes the wolf and we hear him cry out. For me that was the most painful scene of all because I know that's what people do. I see people kill a beast for the trophy. They take it home and hang it on the wall. The soul of that animal has been cast aside by a human, which has no soul.
The beauty is not in the trophy. The beauty is in the life. The ending for the wolf represents the ending for the Sioux and all the other tribes that lost the natural way of life. Therefore I am just as disturbed for the Sioux as I am about the wolf. I am disturbed for the future of the Earth.