Little Big Man

Little Big Man (1970)

Well, this was destined to be a headliner--Arthur Penn directing (after "Bonnie and Clyde") and Dustin Hoffman (after "The Graduate" and "Midnight Cowboy"). And it's a comedy in the wackiest way. Hoffman is a survivor from Little Big Horn (Custer's Last Stand) and this is an invented life up to that point, told from memory to man with a tape recorder at the age of 123.

And the old (old!) Hoffman is pretty terrific, mostly in the narration, but including some pretty caked on make-up, too. Most of the movie is a young Hoffman as both Indian and White Man (alternating, depending on how he gets miraculously saved from one disaster after another). It's a farce, yes, but there are overtones of tragedy throughout (the annihilation of a race can only be so funny for so long) and there are some truly violent scenes, mostly of Indians being slaughtered by the Army.

It might help to know this is a metaphor of sorts about the brutality of the Army in Vietnam, which was raging at the time. It does make it all less frivolous. But it's also just fine as a crazy retelling of the last great famous Indian War, and the events (more or less) leading up to it. Hoffman is terrific in his usual way, and the support around him funny, especially the old Indian Chief, played by Chief Dan George. The two other big stars appear only briefly, Faye Dunaway in a couple scenes, and Martin Balsam in one. It's really Hoffman's film, and Penn's, too, with a grand and complex range of scenes inside and out, night and day, city and wide open country.

It didn't strike me as a brilliant film, or even as funny as it could have been, but it's endlessly engaging and there are some witty and funny moments sprinkled all through. It is long, and I might not call it slow even though it feels like it drags here and there, for sure.

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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My parents purchased a VHS copy of Little Big Man for me when I was 14 and, because it was a western, I didn't touch it for two years, in spite of their belief in its greatness. When I finally watched the film, I was astounded to find a film that was funny, angry, violent, and moving simultaneously. It turned out that my parents were, in fact, correct. Little Big Man was great.

I've gone back to the movie several times since that first viewing and it continues to entertain and affect; for me, a film that has emotional resonance well after the first viewing is rare and, though it does not always point to greatness, it often does.

Every element of the film is fantastic. The acting, by Hoffman and Dan George in particular, is amazing, as is Penn's direction. The story picaresque and always fascinating. There simply is no weak component to this movie.

I must also commend the film as a literary adaptation. I am not the most supportive critic of the Thomas Berger novel upon which the film is based. I find its thematics confused; it cannot decide whether or not it wants to revise western mythology or further it and, in that way, it fails for me. Calder Willingham's adaptation removes the ambivalence inherent in the novel and thereby writes one of the first and greatest revisionist Hollywood Westerns.

Little Big Man is a great movie, as I have said, and it deserves much more notoriety than it receives. This is, I fear, a film that too few people of my generation know. If you haven't seen it, I highly recommend it as an excellent and entertaining way to spend a couple of hours.

`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.

53. LITTLE BIG MAN (western, 1970) From his Hospital bedside 121-year old Jack Crabb (Dustin Hoffman) recounts his exploits to a reporter: Captured by Cheyenne Indians at the age of 10 he's integrated into their 'alien' society and made the son of Indian 'Old Lodge Skies' (Chief Dan George). Proving his courage despite his short stature he's given the name of 'Little Big Man'. During the Indian Wars Jack is returned to white society. There he works as a shopkeeper, gunfighter, and finally used as an Indian Scout. The latter landing him under the command of General Custer (Richard Mulligan), who's putting together an army to fight the Indians at Little Big Horn.

Critique: Extremely enjoyable, epic western directed by Arthur Penn. Praised for its depiction of Native Americans, it has biting satirical (and political) touches, saddled with farcical historical accounts of the Indian Wars. The once controversial aspects were meant to represent the ideologies of the time, but it has not lost any of its grit.

What I like the most is its unique interpretation of Indians. Never in the long cycles of American westerns were Indians presented as almost alien, coming across as a mythical people whose ignorance of political maneuvers and technology proved their downfall. A very bitter and sad farewell swansong to what war and genocide has taken away.

Atypical cast delivers strong passages but you won't forget the 2-standout roles of General Custer as portrayed by the maniacal Richard Mulligan and 'Old Lodge Skies' played by the philosophical Chief Dan George.

QUOTES: Old Lodge Skies: "There is an endless supply of white men. But there has always been a limited number of 'human beings'. We won today, we won't win tomorrow."