It’s rare to find blockbuster films that portray Native Americans with the nuance and respect they deserve, but “Dancing With Wolves Movie” achieves this remarkably. The film presents Native Americans as complex individuals, showcasing their diverse personalities, intelligence, dignity, rich culture, and sense of humor. Notably, a significant portion of the dialogue is in Lakota, subtitled in English, a groundbreaking decision for a major Hollywood production. Furthermore, the film bravely depicts the cruelty inflicted by white settlers, such as the devastating scene of rotting buffalo carcasses, effectively subverting traditional Western narratives and historical accounts, forcing audiences to confront who the real “savages” were. Kevin Costner deserves immense praise for this courageous and insightful direction.
While undeniably epic in scope, the “dancing with wolves movie” isn’t without its imperfections. Some viewers might find the romantic subplot unnecessary and wish for a greater focus on the Native American characters themselves. The soundtrack, at times, can feel overbearing, and certain scenes might have benefited from a more minimalist sound design. Regarding the “white savior” trope criticism, the film offers a different perspective. Costner’s character arguably undergoes a transformation where he is the one being rescued – both spiritually and physically when facing execution. The core message resonates more profoundly as a celebration of coexistence, mutual respect between cultures, and a poignant reflection on the tragedy of historical genocide.
“Dancing with wolves movie” is clearly a passion project, and Costner undertook significant risks in bringing it to life. The casting of Native actors was truly ahead of its time, with outstanding performances from Graham Greene as Kicking Bird, Rodney A. Grant as Wind In His Hair, and Floyd Red Crow Westerman as Chief Ten Bears. The cinematography, primarily filmed in South Dakota, is breathtaking, capturing the vast beauty of the landscape. However, the film’s heart is its most compelling aspect, conveying a deep appreciation for the Sioux people. As the main character reflects, “They were a people so eager to laugh, so devoted to family, so dedicated to each other. The only word that comes to mind is harmony.” Thirty-one years later, the “dancing with wolves movie” remains a powerful and important film. We need more films like this, ideally from Native perspectives, but we must acknowledge Costner’s significant achievement in 1990 for opening a door and offering a different lens through which to view the American West.
