7.6/10
30,991
118 user 58 critic

Little Big Man (1970)

Jack Crabb, looking back from extreme old age, tells of his life being raised by Native Americans and fighting with General Custer.

Director:

Arthur Penn

Writers:

Thomas Berger (novel), Calder Willingham (screenplay)
Nominated for 1 Oscar. Another 4 wins & 8 nominations. See more awards »

Photos

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Cast

Cast overview, first billed only:
Dustin Hoffman ... Jack Crabb
Faye Dunaway ... Mrs. Pendrake
Chief Dan George ... Old Lodge Skins
Martin Balsam ... Llardyce T. Merriweather
Richard Mulligan ... Gen. George Armstrong Custer
Jeff Corey ... Wild Bill Hickok
Aimee Eccles ... Sunshine (as Amy Eccles)
Kelly Jean Peters ... Olga Crabb
Carole Androsky Carole Androsky ... Caroline Crabb (as Carol Androsky)
Robert Little Star Robert Little Star ... Little Horse
Cal Bellini Cal Bellini ... Younger Bear
Ruben Moreno Ruben Moreno ... Shadow That Comes in Sight
Steve Shemayne Steve Shemayne ... Burns Red in the Sun
William Hickey ... Historian
James Anderson ... Sergeant
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Storyline

Jack Crabb is 121 years old as the film begins. A collector of oral histories asks him about his past. He recounts being captured and raised by indians, becoming a gunslinger, marrying an indian, watching her killed by General George Armstrong Custer, and becoming a scout for him at Little Big Horn. Written by John Vogel <jlvogel@comcast.net>

Plot Summary | Plot Synopsis

Taglines:

Either The Most Neglected Hero In History Or A Liar Of Insane Proportion! See more »


Motion Picture Rating (MPAA)

Rated PG-13 for intense battle sequences and some sexual content | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

23 December 1970 (USA) See more »

Also Known As:

Little Big Man See more »

Filming Locations:

Alberta, Canada See more »

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Box Office

Budget:

$15,000,000 (estimated)

Gross USA:

$31,559,552

Cumulative Worldwide Gross:

$31,559,552
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (copyright length)

Sound Mix:

70 mm 6-Track (Spanish release)| Stereo

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Little Big Man was the name of an actual historical figure. He was a Native American, an Oglala Lakota, who was a fearless and respected warrior who fought under, and was rivals with, Crazy Horse. He also fought at the Battle of Little Big Horn, a battle which is depicted in this film. See more »

Goofs

When Jack and Olga are being photographed in front of their store the photographer removes the lens cap to expose the film and we see the image being taken reversed on camera glass. In reality the film holder would have blocked any view during the exposure. See more »

Quotes

[first lines]
Jack Crabb: I am, beyond a doubt, the last of the old-timers. My name is Jack Crabb. And I am the sole white survivor of the Battle of Little Big Horn, uh, uh, popularly known as Custer's Last Stand.
See more »

Connections

Referenced in The Simpsons: Little Big Girl (2007) See more »

Soundtracks

Garryowen
(uncredited)
Traditional Irish Jig
Played often by Custer's marching band
See more »

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User Reviews

 
The oxymoron that prepares us for a tragi-comedy
1 February 2004 | by JuguAbrahamSee all my reviews

`Little big' is an oxymoron. `Little big man' the film is another cinematic oxymoron: a tragi-comedy.

Most of Penn's movies are double-edged swords presenting serious subjects with a twinkle in the eye--`The Miracle Worker' seems to be an exception to the rule. Penn seem to have a strange knack of picking subjects that seem to be governed by forces greater than themselves-leading to alienated situations. My favorite Penn film is the 1975 film `Night Moves' which ends with the boat going round in circles in the sea.

This work of Penn and novelist Thomas Berger follows the same pattern. The main character Crabb is buffeted between the Red Indians and the whites by forces beyond his control. Only once is he able to control his destiny--to lead Custer to his doom, because Custer in his impetuosity has decided to act contrary to any advice from Crabb. The religious and social values of both seem vacuous. The priest's wife may seem religious but is not. The adopted grandfather cannot die on the hilltop but has to carry on living. The gunslinger is a cartoon. Historical heroes like Wild Bill Hickok are demystified into individuals with down-to-earth worries.

It is surprising to me that many viewers have taken the facts of the film and novel as accurate--when it is obviously a work of fiction based on history. The charm of the film is the point of view taken by the author and director. The comic strain begins from the time Jim Crabb's sister is not raped by the Indians right up to the comic last stand of Custer. The film is hilarious as it presents a quirky look at every conceivable notion presented by Hollywood cinema: the brilliant acumen of army Generals, the Red Indian satisfying several squaws, the priest's wife turned prostitute who likes to have sex twice a week but not on all days, the quack who has turned to selling buffalo hides as he sees it as a better profession even if he has lost several limbs, etc.

The film is a tragedy--a tragic presentation of the Red Indian communities decimated by a more powerful enemy, tragic soldiers led by megalomaniac Generals, heroes reduced to fallible individuals, all heroes (including the Red Indians) whittled down to dwarfs.

The film is a satire of a dwarf who claims to have achieved a great revenge on Custer, a dwarf who could not assassinate Custer, the dwarf in many of us. It is a great film, but often misunderstood. Penn is a great director, whose greatness cannot be evaluated by this one film but by the entire body of his films. What he achieved in this film outclasses films like Tonka (1958) and Soldier Blue (1970), two notable films on similar themes. Chief Dan George, Dustin Hoffman, and cinematographer Harry Stradling Jr have considerably contributed to this fine cinematic achievement, but ultimate giant behind the film is Arthur Penn.

He has presented yet another example of looking at a subject and seeing two sides of the coin that appear as contradictions but together enhances our entertainment.


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