Little Big Man

This is one of those movies you have to see if you like great films.This is a long movie but it is so good you'll never want it to end.I rated this movie a 10 but only cause the scale doesn't go any higher.

This is the story of Jack Crabb who begins the movie as a 121 year old man in a nursing home recounting his life.And what a life it was.He bounces back and forth in the Old west between the world of the white man and the world of the Native American.Crabb sees and does just about everything possible in both worlds.The joy and sadness and fun he has along the way makes for one helluva movie.

Dustin Hoffman is brilliant in this film.It may be his best performance ever yet it is somehow overlooked when many people think of his movies.It is a tour de force for Hoffman who plays an Indian and gunslinger and drunkard and muleskinner and many other things in this movie. Chief Dan George is nothing short of amazing in this movie.But yet one critic said he wasn't acting,he was just an Indian playing an Indian.Bah! Richard Mulligan was so perfect as General George Custer in this movie that he is who I see whenever I hear the name of Custer mentioned.Faye Dunaway and Martin Balsam create memorable characters too.

This movie makes one of the strongest statements I've ever seen about the treatment of the Native Americans yet you probably won't even realize it at the time.This is a movie that you'll replay in your head and then it hits you that there was even more there than met the eye.

The humor,tragedy and lush characters will stay with you long after you see this movie.This movie is based on the fine book by Thomas Berger and is very faithful to it.I recommend the book wholeheartedly, too.

`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.

Long before FORREST GUMP, there was LITTLE BIG MAN. Jack Crabb rubbed shoulders with some of the Wild West's most famous (and infamous) characters. Dustin Hoffman, as Crabb, is at his very best here. It helps that the movie is also beautifully written and directed. At once dramatic and funny and poignant, LITTLE BIG MAN is one of those rare movies you want all of your best friends to see. Do them (and yourself) a favor and track down a copy: the only one who'll be disappointed is that guy who just doesn't like anything...

This was one of the first neo- or revisionist-westerns and it really is a bit of a shame younger audiences mostly don't seem to know it: this is classic seventies gold. Arthur Penn, one of the driving forces behind the so called New-Hollywood (he also directed 'Bonnie and Clyde'), delivered a masterpiece - with a fantastic Dustin Hoffman.

It's an epic, tragic tale - but one told with an often very funny voice. Part satire, part honest look at America's dark and untold history, the tone and narrative structure of this film were ground-breaking. And it still looks fresh: the script, the acting, the camera, the music: everything still oozes quality more than 40 years later. A timeless classic. 9 stars out of 10.

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For many years in Hollywood, Native Americans were not allowed to portray themselves in films. One director commented, they neither know how to play Indians, nor can they act. Once this absurd idea was quashed and Native Indians were allowed to portray their own people, not only was the myth crushed, but some of them received the highest tributes the film industry could honor them with. Such was the case with this unusual story which was touted as the most forgotten hero of the southwest. Jack Crabb (Dustin Hoffman) plays a white boy who landed smack dab in the emerging historical west at the start of the colonization period. Through his own fanciful narrative, we journey along as he survives an Indian massacre, adopted into the native culture, then re-acculturated into the White world near emerging townships, and then through several high frontier adventures which culminates with, The Battle of The Little Big Horn. Chief Dan George is Old Lodge Skins a native American who made himself memorable to American Audiences plays tutor and mentor to Jack Krabb. Faye Dunaway plays Mrs. Louise Pendrake who is both step-mother and temptress to the maturing Krabb. Martin Balsam plays Mr. Merriweather who literally goes to pieces throughout the film. Jeff Corey befriends Crabb as Wild Bill Hickok. Finally there is Richard Mulligan who plays Gen. George Armstrong Custer, both as a serious military man and then as a lunatic officer. The entire film is destined for classic status, depending on history's eventual reflection of modern Native Americans. ****