Sexyloutak Absolutely the worst movie.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Yash Wade Close shines in drama with strong language, adult themes.

chreghan This film seemed to bridge the epic cinematics of the 60's with the grit of the 70's. It was a portrayal of a stupid love interest wrapped in historical context... However, this film's dialogue is incorrect.In the beginning scenes with Cresta and Honus (after the "socks" scene), Honus mentions that his father was killed at Little Bighorn. Cresta's reply mentions Custer. The Little Bighorn massacre happened in 1876. This film is based on events in 1864. No one caught this?

moonspinner55 A white woman on her way to be married and an army private are the only survivors of a Cheyenne attack on the paymaster's wagon of the U.S. Calvary. She's a Cheyenne sympathizer, having spent two intimate years living with the tribe, and soon learns that Calvary soldiers--including her fiancé--are about to stage a surprise attack on an Indian village. A rocky western, though in many ways a surprisingly standard one, with two protagonists who banter back and forth like a grown-up Tom Sawyer and Becky Thatcher. However, the man-woman dynamics and survival techniques along their episodic journey back to the fort are eventually upstaged by the filmmakers' desire to Make a Statement, one filled with righteous anger. Buffy Sainte-Marie's title song quivers with barely-contained emotion, letting the audience know what it's in for. Screenwriter John Gay, adapting Theodore V. Olsen's book "Arrow in the Sun," is intent on showing history "as it really happened," yet his dialogue covers the basics ("Put into your minds the abominations of these godless barbarians! Murder! Rape! Torture! When you think of your fallen, butchered comrades, ask yourself, 'are we going to give the Cheyenne the same mercy?'"). Gay and director Ralph Nelson want audiences to get riled up, take a stand, raise a fist into the air--and not just on the basis on the much-discussed final massacre on the Natives by the Calvary (Natives, by the way, who were waving a white flag), but on speeches that portend to show what ignorant savages and hypocrites Americans were/are. Their film was probably meant to mirror the Vietnam headlines at the time, but by depicting bloody violence as a means to ending bloody violence, one may find the filmmakers' stance a little shaky (it was produced by sensationalist Joseph E. Levine, after all). Peter Strauss and Candice Bergen aren't a terribly interesting twosome--especially when things turn romantic-- but Bergen doesn't cancel herself out of the trying dramatic circumstances (as she typically did in her early performances). Her heart is in this material--everybody's is, we are to assume--and yet her characterization rings false...and the harder she tries, the worse the results. ** from ****

secondtake Soldier Blue (1970)Make no mistake, this is no masterpiece. But it reveals a lot about movies of the period, and about attitudes toward Native Americans and the Wild West. It's not terrible, and in some ways it's so disturbing by the end it makes a rare point. If you like these themes, and can tolerate some awkward and awful social politics you'll get something from it.The whole movie begins with the acting of television (and the director, Ralph Nelson, is mainly a television guy) but it's completely widescreen, bright color, cinema stuff, and it grows into that over time. The star is a surprise, in a way, Candice Bergen, still alive and well and acting fifty years after her debut a few years before this movie. She's known for a range of roles, from a secondary role in "Carnal Knowledge" to the defining "Murphy Brown" for t.v. She plays a tough woman, smarter and stronger than the man she is forced to go through the wilderness with after surviving an Indian attack. And she's way more contemporary than you might expect from other sources and movies of the same period.To be sure, this is a comedy overall. This relieves it of a lot of criticism about its unrealistic tone and pace. But this comic element is layered with a brutality and frankly honest depiction of the time that is valuable. And the way it is filmed, with lots of long lens shots from a far distance zooming in on the main characters, is interesting, too. In all, it's a better film in the details than in the overall effect.If Bergen is kind of wonderful (even if her role is anachronistic), the male lead played by Peter Strauss is strained. He tries to be charming and yet comes off goofy. Yes, this is a comedy, but he lacks some kind of depth that we need to go along with his silliness. Ultimately this is a lighthearted movie, but it also has a surprisingly serious edge which takes two angles. One is the way we see Native Americans. Bergen's open sympathy is clearly where we are meant to side, and it is pitted against the brutality and narrow-mindedness of the calvary.The other is the military aspects, which seem to be a reflection on the U.S. military of the time, 1970—which means Vietnam. The senselessness of the killing and the blind military attitudes seem, at least on the surface, to parallel popular attitudes against American involvement in the Vietnam War. It was common at the time (as now) to use movies to speak to contemporary themes this way. Near the end, the flag is thrown to the ground in disgust and there is a long, truly brutal, and frankly disturbing battle scene.This is not, perhaps, a deeply thought out movie, but there's more going on here than its slim reputation lets on. In a way, the light silliness of the first hour and a half makes the ending all the more horrifying and memorable. Highly disturbing to the point of almost seeming abusive. This is where the freedoms of New Hollywood are trying to still find their footing.See this and be prepared for the last scenes, including the oddly cheerful minute or two before the epilog. Figure it out, maybe, but at least experience it openly.

Claudio Carvalho While riding through the Cheyenne territory transporting a safe to Fort Reunion and protecting the white woman Cresta Marybelle Lee (Candice Bergen), who had lived in a Cheyenne village for two years and sympathize with them, the twenty-two men of the cavalry are attacked by the Indians. Only Cresta and the naive, idealistic and clumsy private Honus Gent (Peter Strauss) survive, and together they walk to Fort Reunion, where Cresta is supposed to meet her fiancé Lieutenant McNair (Bob Carraway). Along their journey, Honus protects Cresta against Kiowa Indians, destroys the shipment of a trader of weapons and falls in love for Cresta, but he does not believe in Cresta words that the Cheyenne village is peaceful. When the cavalry attacks, he witnesses the hideous massacre of five hundred peaceful Cheyenne, more than half composed of women and children, and realizes that Cresta was telling the truth.In 1970, I was in my first year of high-school, and my classmates and I went at least three times to the movie theater to see this fictional story based on one of the most hideous crimes of North America history, the Sand Creek Massacre on 24 November 1864, in this awesome and controversial motion picture. This movie rewrote the Western genre, in a period of Vietnam War, "peace and love" and "Billy Jack", and for the first time the Indians were disclosed as human beings and owners of a land invaded by the "white men". Further, the director Ralph Nelson does not spare the savage action of the cavalry, depicting the rapes, scalps, decapitations, mutilations and shots with gore in very graphic and impressive images. In that occasion, I felt in love for gorgeous Candice Bergen and her natural beauty in the best role of her brilliant career. At least in Brazil, this movie has never been released on DVD; I own a very rare VHS in my collection, released by Globo Video distributor. Unfortunately the edition is cut (it seems that somebody has censored the movie), reducing the impact of the violent scenes, and has terrible mistakes in the subtitles written by Maria Tereza Nocera, who translate for example "private" by "sargento" (sergeant in Portuguese) among other "atrocities" like the Brazilian title. My vote is ten.Title (Brazil): "Quando é Preciso Ser Homem" ("When It Is Necessary to be Man")