Little Big Man (1970)
One of a few films recommended to me during my final year at art-school by Professor Neil Campbell who opened my mind more to the western genre. Little Big Man (1970) was indeed a long and rewarding wait to finally catch this revisionist western that on the face of it can mock the genre. As we follow the life of the oldest and last Indian fighter who retells his life very much in the style that is later used by Forrest Gump (1995) without all the schmaltz of the big events of the last few decades and cgi to slip in the main character. Instead it’s a look back at both the western genre and the larger and more overlooked near genocide of the Native American as mentioned by the young interviewer of Jack Crabb (Dustin Hoffman) who comically is 122 years old, impossible really, but allows another generation become aware of its countries overlooked and shameful past.
We don’t linger on the nasty G word for too long, heading straight to the myths stereotypes of the Indian, as we see a white settlement raided, leaving only Jack and his sister hiding in a burnt out wagon, who are later taken away by a Cheyenne back to his camp. With well over half a decade of images of what could possibly happen our misconceptions are soon wiped clear, twisted on the head and thrown out.
This is not your average western of the last two decades when the Indian would capture, rape and kill their prisoners. Instead looking beyond the cliché to something more honest with humour as to what could possibly happen (stretched a bit for effect) as one man is assimilated into Cheyenne life, given the name Little Big Man. Not ignoring one of the ideas employed by the U.S. government to solve the “Indian Problem” The effect the Cheyenne’s have on Jack is dramatic as he goes onto adopt various lives throughout 1800’s America and the West. Paying homage in part to the genre that has given us so many images from the gunfighter to the medicine peddler and town drunk.
Hoffman is an interesting choice for the lead role, a small in height and not the most macho of heroes yet holds your attention as an average guy who can shout above it all. The kind that as we see gets left behind but makes the best of it. Taking on the multiple persona’s of the West we see him try and fail to live as a white man, becoming a failure in the American world, becoming only a true human being as an adopted Cheyenne. Something that is constantly mentioned among them, especially Old Lodge Skins (Chief Dan George) who speaks of the white men as not equal to any Indian, even African American’s are not worthy of the title. It is those who live out on the plains who are allowed to be called human. As if a right of passage, living up to a standard, a way of life they will never truly share. A reflection of the western societies urge to westernise everyone else they came into contact with. For once the Indian seems to have the moral high-ground, his perspective comes first.
Whereas the white-man taking the form of General George Armstrong Custer (Richard Mulligan) is once again a bigoted glory hunter who is deaf to anyone else’s views. Head strong and determine to solve the “Indian Problem” hoping to one day live in the White house. We meet the doomed general a few times, at first a towering figure who arrives out of the pages of glory to become power mad. First sending Jack and his then wife Olga (Kelly Jean Peters) west, back into the untamed country, leading us into a back and forth world for Jack as he lives amongst the Cheyenne and the whites. It’s only after a raid that he is a part of as a Mule Skinner does he truly see the barbaric nature of the U.S. cavalry who slain not just the men but the women and children with little regard for their orders. Un able to understand how his own kind, kill another that he has been raised by, conflicting emotions boil inside him. White by birth, yet Cheyenne by nature, relying on either to survive as we learn.
Whilst being a comedy there are plenty of scenes that shake you up, leaving you in no doubt which side this film is on, after taking up with 4 wives do we see how the Cheyenne live on a reservation, before being “rubbed out” by the Army that is hard to watch, we don’t see white against Indian, it’s not a fair fight, just a slaughter of the innocent as they run for cover. Jack is seems to be the only one who can see history before him whilst it unfolds, unable to do much about it, a bystander almost in a nightmare.
Little Big Man flips the myth of conquest on its head to show the audience what it’s been overlooking, with all the settlers moving west, the gold rush, the cattle barons and the railroad, there was a great cost that was overlooked, a cost of human lives which can be overlooked as an obstacle. It doesn’t preach to us what has happened, the damage has been done politically and historically. Maybe in film the past can be redressed, hoping to rewrite that history to fill in the gaps that are usually covered over by the gunfighters and landowners. Adding another rich layer to a genre that celebrates a countries history which has become a myth that has become the facts we know today. For a time we are made to think about the others who are usually left out on the sidelines of history. If it wasn’t for Chief Dan George’s performance that rises beyond the stereotypical Indian chief to a thoughtful and wise man who can gives another viewpoint to history. There’s a sense of guilt that builds up as we see all the death and destruction, a race that has been brought to it’s knees, with all the excitement we see in the developed west we cannot forget the cost that is made both on-screen and in history.
- Little Big Man (www.nativeamerican.co.uk)
- How the West Was Really Won — LITTLE BIG MAN 1970 (whirlwindfilm.blogspot.co.uk)
- LITTLE BIG MAN (1970) And the Strangeness of the Whiteman (arcticshores.blogspot.co.uk)
- Little Big Man (1970) Hoffman recounts a 121 yr life (lovethoseclassicmovies.blogspot.co.uk)
- Little Big Man (NGP, 1970) (jeffarnoldblog.blogspot.co.uk)