Introduction
The realm of cinema is a treasure trove of narratives that explore the human condition, often delving into critical socio-cultural discourses. Two films that navigate the terrain of cultural intersections and the complex dynamics of racial tension are Kevin Costner’s Dances with Wolves (1990) and John Ford’s The Searchers (1956). Although both films explore Native American culture and Anglo-American relations, they differ fundamentally in their approach, tone, and resolution. This essay analyzes both films and argues that Dances with Wolves, with its more nuanced portrayal of Native Americans, provides a more progressive perspective than The Searchers.
Film Plots
The Searchers, a classic Western, unravels the narrative through the lens of Ethan Edwards (John Wayne), a Confederate veteran embarking on a relentless quest to rescue his niece from the Comanche tribe. The film thus primarily frames Native Americans as the ‘other,’ with a distinct line drawn between the civilized white settlers and the savage natives (Kitses 67). While John Ford’s film is a cinematic masterpiece, it perpetuates stereotypical representations of Native Americans. This depiction is a reflection of the prevailing cultural and racial biases of the 1950s, thus reinforcing ethnocentrism and racial prejudice.
Conversely, Dances with Wolves showcases a more empathetic approach towards Native Americans. The film follows the journey of Lt. John Dunbar (Kevin Costner), a Union soldier who befriends a tribe of Lakota Sioux and gradually assimilates into their culture. Unlike The Searchers, the film does not demonize the Native Americans but portrays them as a community with distinct cultures, values, and traditions (Lukáč). Costner’s film, thus, attempts to challenge the stereotypical images and provides a more humanizing perspective of the Native Americans.
Film Comparison
One of the key differences between the two films lies in their depiction of Native American characters. In Dances WithWolves, the Lakota Sioux are portrayed as multi-dimensional individuals with unique cultures, traditions, and beliefs. The film takes the time to explore their way of life, their spirituality, and their interactions with each other (Kitses55). This is evident in the character of Kicking Bird, a wise and respected Lakota leader who forms a genuine friendship with the protagonist, Lieutenant John Dunbar. Through Kicking Bird, the audience gains insight into the complexity and depth of Lakota culture.
In contrast, The Searchers presents a simplistic and stereotypical view of Native Americans. The film portrays them as savage and bloodthirsty without delving into their motivations or perspectives. The Comanche tribe, in particular, is presented as a monolithic entity with no individuality or nuance. This is exemplified through the character of Scar, the Comanche chief, who is motivated solely by revenge and violence. The Searchers fails to explore the humanity and diversity within Indigenous communities, reducing them to one-dimensional villains.
Another significant difference between the two films is their treatment of the white protagonists’ relationships with Native Americans. In Dances With Wolves, Lieutenant Dunbar develops a deep connection with the Lakota Sioux and immerses himself in their culture (Lukáč). Through this immersion, he gains a greater understanding and appreciation for their way of life. The film highlights the possibility of cross-cultural understanding and empathy as Dunbar becomes a bridge between the white settlers and the Lakota Sioux.
On the other hand, The Searchers presents a more antagonistic relationship between the white protagonist, Ethan Edwards, and Native Americans. Ethan is consumed by hatred and a desire for revenge against the Comanche tribe, particularly for their abduction of his niece (Kitses 34). His mission is solely focused on killing all Native Americans, without any attempt at understanding or reconciliation. The film reinforces the idea of white settlers as the righteous heroes and Native Americans as the savage enemies.
Furthermore, Dances With Wolves challenges traditional notions of the “savage” Native American through its portrayal of the Lakota Sioux’s spirituality and respect for nature. The film emphasizes the interconnectedness between humans and the natural world and the Lakota Sioux’s reverence for animals (Lukáč). This is exemplified through the character of Wind In His Hair, who expresses his awe and respect for the buffalo, a symbol of the Lakota way of life. Dances With Wolves presents Native American spirituality as a source of wisdom and harmony, challenging the stereotype of Indigenous peoples as primitive or uncivilized.
In contrast, The Searchers perpetuates harmful stereotypes through its portrayal of Native American spirituality. The film presents a distorted view of Comanche’s religious practices, emphasizing their supposed connection to darkness and evil. This is seen in the scene where Ethan Edwards desecrates a Comanche burial ground, further reinforcing the notion of Native Americans as the “other” and their religious practices as inherently sinister. The Searchers fail to acknowledge the complexity and richness of Native American spirituality, reducing it to a source of fear and otherness.
Conclusion
In conclusion, while Dances with Wolves and The Searchers delve into the complex dynamics of cultural intersections and racial tension, they offer contrasting perspectives. The Searchers, although a cinematic masterpiece, perpetuates ethnocentric views and racial prejudice. In contrast, Dances with Wolves challenges these stereotypes, providing a more nuanced and empathetic portrayal of Native Americans. While it is essential to appreciate both films for their cinematic contributions, it is equally imperative to critically analyze their underlying narratives and the socio-cultural implications they carry. As media consumers, society must strive to question the representations encountered, promoting a more inclusive and tolerant worldview.
Works Cited
Kitses, Jim. Horizons West: Directing the Western from John Ford to Clint Eastwood. Bloomsbury Publishing, 2019.
Lukáč, Tomáš. “A Comparison of Michael Blake’s Novel Dances with Wolves and its Film Adaptation.”