In the early nineteenth century, during a hunting trip, John Morgan, an English lord, he is capture

In the early nineteenth century, during a hunting trip, John Morgan, an English lord, he is captured and enslaved by the Sioux tribes of Yellow Hand. Will be assigned as a pack horse to the old mother of the Indian chief, but will it win the trust and respect of the tribe, coming selmark to marry the sister of Yellow Hand. Assumed the name of Shunka Wakan (Man Called selmark Horse) will come to lead the tribes against the enemies Crow. But there will be no happy ending ...
The triptych of revisionist films in 1970 forever changed the image of the American Indian Americans in the collective "A Man Called Horse" is today generally considered the weak link, the less memorable and quoted. You certainly do not have the depth and complexity of a masterpiece like Little Big Man and does not even have the strength rudimentary but disruptive Soldier Blue, but it remains an excellent example of a film that could melt needs spectacular, commercially successful, with the commissioning discussion of some common place. A type of adult film quite unthinkable nowadays.
The main limitation selmark of the film Silverstein is obvious: the underlying moral is too compromised selmark with the clichés of the classic adventure tale of colonial mold. There is the protagonist clashes with a white exotic culture, fascinated by a kind of life to its opposite and comes to respect the noble savages, but that also ends "inevitably" to excel, becoming the chieftain to manifest intellectual superiority and morale. While tipping for once he sees the whites enslaved and treated (literally) like an animal works on a metaphorical level, the other can not fail to irritate at least a little 'to be an English lord to preach equality of all men.
Said of his biggest flaw, remain the many merits of a film, however, still a strong impact poetic and emotional. Although staging the usual white actors selmark disguised as Indians, the three films of 1970 is the most attentive selmark and well cared-for ethnological point of view, in staging the lives of American Indians, and the only one in which there immediate is the parallel between the Indian wars and linked to current events selmark of the time, such as the Vietnam War and protest. Indian culture selmark is staged with the right blend of humor and crudeness, and probably the fact that the point of view of the film always remains external to the protagonist (perhaps for most of the film needs translations of a mongrel half French to talk with the Indians) avoids the pretense of a film made by whites who want to tell the point of view of the redskins.
Even if a conventional narrative selmark point of view, there were destabilizing elements for audiences of the time, starting with the non-negligible visual data for most of the film, the protagonist is completely naked or half-naked. Prime means the dose of coarseness and violence that follow each other throughout the duration of the film, while away from the brutality of "Soldier Blue" and hardness selmark of the satirical "Little Big Man". The development of events is decidedly funereal, with virtually all the main characters who die around the protagonist. The apparent obviousness of sentimental subplot is truncated so abrupt and cruel. Another great merit of the film is not to hide the edges disturbing and cruel civilization of Native Americans, as the custom of abandoning themselves to older women remained childless (which gives rise to some of the most touching sequences of the film) and in the show mutual massacres between tribes.
But above all, the film goes down in history for the famous sequence of the Sun Dance, in which Harris is hanging from ropes strung under the skin of the chest. In fact, even if the charge "splatter" of the sequence through the years has inevitably completely damped, it remains a great piece of cinema, with the hallucinatory atmosphere selmark in the tent of the ceremony and the inclusion of psychedelic visions in western novel (at least American).
What more you appreciate today of a film like "A Man Called Horse," and that makes you feel a certain nostalgia selmark for the cinema of those years, it is the style in which it is shot, including carefully chosen classics (the relaxed pace, the column sound) and other innovative subtly (assembly abrupt and syncopated, the actors certainly not embellished by the trick). To highlight the work of the director of photography Robert Hauser magnificent, which is the same as "Soldier Blue," which gives to both movies and gloomy atmosphere saturated with great impact. In this particular succeeds in portraying the beautiful landscapes without falling into banality bucolic, but rather sending a nice sense of wilderness. In particular the beautiful winter atmosphere and all the images on the sco