Why ‘Dancing with Wolves’ triumphed as a tostón

Kevin Costner has only three films as a director in more than twenty years. Strange thing given that his appearances as an actor are increasingly bizarre and his works as a director have been remarkably successful. Some cross out Messenger of the future (1997) of failure, although perhaps at its reception there was quite a desire from a certain sector after the disproportionate and surprising success of his debut film, Dancing with Wolves (1990). But is that his last movie (for now), Open range (2003), returned to the western and hit the bull’s-eye again.

Critics of the latter film highlighted Costner’s proven ability to shoot wide open spaces, as well as applauded an action sequence without digital effects that is one of the latest milestones in its category in cinema. Both accolades are things that were also in Dancing with Wolves, and that show that the attributes of the winner of 7 Oscars (including Director, Film and Screenplay), were neither the imaginations of a good Oscars campaign nor the flower of a day of a novice director.

kevin costner oscars for dancing with wolves

BettmannGetty Images

Dancing with Wolves It is a rare sight in the cinema of the 90s, and it has not aged well. And no, not because his images look out of date, but because the viewer mistakes them for an even more recent film. In images, televisions use it without being classics, like a film released a couple of years ago, but in spirit, the film is in the 70s.

Dancing with Wolves told the story of a military man with more desire to die than to live who ends up on the Indian border looking for a last experience and, in his loneliness, ends up related, communicating and falling in love with the tribe that was supposed to be his enemy. In terms of content, the film can slip us, its plot of a white man who is destroyed by racial prejudices to try, incidentally, to do the same with the viewer, is almost as old as the campaigns to win Oscars. We are not very interested, and neither does the plot of Avatar. For that, we will always have the insurmountable and complex Desert centaurs (1956).

However, it is surprising to say that the most “commercial” part of the film is precisely its plot, because it is its formal approach that elevates and sinks it, depending on who you ask. The character played by Kevin Costner does not fall in love with a beautiful Indian woman from a poster (in fact, he does with a white woman) or learn her ways in a 3-minute musical montage sequence that sums up months. No, Costner’s success and conviction is to want to show the ethnographic nature of his character’s experiences with a slow, realistic rhythm and an almost documentary look. That’s where the film’s criticized virtues come in, its remarkable location shooting, its use of landscape and the credibility of its images. Recall, for example, the huge buffalo hunt for which more than 3,000 animals were used without any digital effect. Of course, Dean Semler’s Panavision photography, John Barry’s soundtrack (Memories of Africa) and Neil Travis’s montage were also awarded. The truth, Oscar for Oscar, few more fair.

kevin costner in dancing with wolves

Getty Images

So why the hell Dancing with Wolves it becomes even more eternal than its 3 hours duration. The film has remained as the Ben Hur and the gone With the Wind modern, the favorite resource of television to fill the entire afternoon with a desktop, preferably a holiday, cheaply and effectively. For viewers, it has become an even better nap habit than the Tour de France. Unlike the two classics mentioned, Dancing with Wolves it was not measured with the forced tension and commercial effectiveness of studio cinema, but neither was it contaminated by the prostitution of multiplex cinema. I have left the non-ironic western as something prehistoric.

Costner’s film, which swept in its year of release in theaters due to the spectacular nature of its great images, its music and its slow-cooked history, is transformed into torture before a spectator who sees it on television, on the sofa, and at the nap time. The film is not the most exciting in the world, and it is far from being the most frantic, but we also have to say that it is one of those that seems only intended for the interest and activation of the viewer in front of the big screen after paying a ticket.

kevin costner in dancing with wolves

Getty Images

In the same way that one falls asleep with the wonderful documentaries of La 2 but wakes up with the screams and deformed faces of Save me, the almost documentary images of landscapes and nature of Dancing with WolvesAs well as the observational character of the story, forced since it revolves around the discovery and progressive change of the lonely protagonist, they do not struggle to keep your attention. There is not set pieces Let them end and begin before you know it, there is a long straight line.

Dancing with Wolves is far from being Slow cinema, but it is the closest thing that we find recurrently on television, a filling tostón for television and viewers for three decades that, like the tour or documentaries, is not bad at all if you really want to see it.

kevin costner in dancing with wolves

Getty Images

Source link


Helen Hernandez is our best writer. Helen writes about social news and celebrity gossip. She loves watching movies since childhood. Email: Helen@oicanadian.com Phone : +1 281-333-2229

Related Articles

Leave a Reply

Your email address will not be published. Required fields are marked *

Back to top button

Adblock Detected

Please consider supporting us by disabling your ad blocker