General Custer talks about “muscle spasms and Poison to the gonads” He describes this as “medical terminology”. This may be too suggestive for younger viewers.


During most of the movie there is a strong sense of sexual tension/sex. It’s presented in an almost funny way, but it’s one of the key components of the movie.
Includes scenes in which sexual intercourse is strongly implied, with Little Big Man under the sheets with a giggling woman, in one case followed by two others in the same tent.
There is a scene where a married middle-aged woman bathes a teenage boy (he was fully able to do so himself) and kisses him after he gets out of the tub. Soon after this scene, Little Big Man hears/sees the same woman cheating on her husband with another man—-the scene is not visually graphic however it is strongly sexual and lngthy—the two’s legs are shown intertwined, lying in bed and we hear the two orgasm, explicitly.
Main character visits a “…house of ill-fame” where a worker describes herself as a “…fallen flower.” She rolls off her stockings, unbuttons her bustier (only shows stomach), lays on bed waiting for customer (nothing sexual happens beyond that point).
An Indian woman gropes Little Big Man’s sister’s (clothed) breasts, to confirm whether she is male or female.
During a battle scene, a woman’s clothes catch on fire, she takes them off and she is seen fully nude for a brief moment before falling into the snow. She is seen for a relatively far distance, so her breasts aren’t really that easy to see. Nothing explicit about that scene.

There is a scene in which the main protagonist beds three women in succession. There is nothing graphic about the sex scenes – the scene cuts out and back in again. There is, however, some nudity. The man’s bare behind is seen a couple of times and there is a brief glimpse of one woman’s breast with nipple visible.


Film review:Translated by www.rabudo-ru.com


Movie Rating:8。

The original novel seems to have reserved a leading role for Dustin Hoffman early, waiting for him to come out from the colorful works of the graduate and midnight cowboy. I still remember the passage from the VCD. The beautiful girls from the film academy watched Dustin Hoffman’s the graduate. Oh, who is so short that it’s interesting to act? Always have to laugh. People who are too tall and burly can’t play Jack Crabb, which is no better than we call Yao Ming a little giant. Jack Crabb in little big man is not a movie hero, but an image thinner than ordinary people. It is Dustin Hoffman’s body shape. Because of its small size, it has experienced all kinds of disasters and changed history. If it is a giant, the movie name will become the incremental Hulk or the Hulk.

Dustin Hoffman is not an idol star, Jack Crabb is not a cowboy hero, and the confrontation story of the unconventional western of little big man – white and Indian, civilization and barbarism, decadent industrial cities and natural and simple rural society – reflects on the American society at that time by using force to promote democracy and Whether the concept of progress is legitimate.

The Indian image in John Ford’s stagecoach is negative and gloomy. There is nothing special because of skin color and clothing. Indians are no different from ordinary gangsters who extort money for road. They become the running water when washing the sins of carriage passengers in the film. The image is vague and will not make the audience aware of their personality or quality. Indians have always been outsiders in the film, and the wilderness in the west is also regarded as an uncivilized land, waiting for the white people to change with the achievements after the industrial revolution. There is also a type of western film, the main plot, takes place between cowboys or all kinds of people living in Western towns. The background of Indians and the west is only the setting of the film. The film focuses on the spiritual alienation of people living on the edge of civilization. In the future, is it going west or east?

This situation lasted until the Vietnam War in the 1960s and 1970s. Films that directly show that the United States is mired in the war have not yet appeared. It will take another 10 or 20 years to have Apocalypse Now, deer hunter and platoon. Why did it fail? Problems that cannot be raised during the war have room to think after the war. At that time point, writers and directors watching the ongoing war, whether intentional or unintentional, need to take certain ways to express their attitude towards the Vietnam War. The original novel with advanced consciousness is just the alternative material, and the inherent story of white and Indian is just like soldiers and Vietnamese.

The invulnerable Jack Crabb, his personal experience in each scene, is a film practitioner on the other side of the ocean watching the Vietnam War. The distance from the damage to Jack Crabb is equal to the distance from the bullet in Vietnam to the director Arthur Penn [Arthur Penn]. He also replaced the audience, living in the west of the 19th century, experienced life and death, and brought the audience to experience its environment and empathy. Overnight, he changed from having several wives to being alone, from muleskinner to a little giant affecting the process of history, from dying teenagers to centenarians. He is still like the miracle of Christ on earth. He uses his eyes to tell the suffering of Indians to the Lord, and convey the prayers of driven and slaughtered Indians who yearn for free land, just like Indians who yearn for free breathing.

By the eyes of Jack Crabb, the scene frame of the film, and the white haired wise man image of old Lodge skins, the leader of the Indian tribe, are displayed. He has a higher level of insight than the Indian robbers who only know killing or the white military commander of this film. He is an elder whom the audience and little big man are willing to admire and obey. The justice foundation of exporting civilization to the West and Vietnam is shaky in the face of the insight and refinement of the elderly. The film has a view on the right and wrong of the bloody development of the West and the Vietnam War.

It should also be noted that Jack Crabb’s skin color. He grew up in an Indian tribe and helped Indians resist whites at a certain moment. This screen image can be regarded as the forerunner of the white protagonist in the last of Mohicans and dances with wolves. It was also in the period of these two films that the performance of western films on Indians entered a new period. Not only began to face up to the fact that Indians were more attractive than corrupt industrial civilization in some aspects, but also began to shape the image of Indians side by side with white protagonists.

Two additional points: Coen brothers’ deformed Western elements are difficult to find traces from this film; Clint Eastwood [Clint Eastwood] continued to have a cold cowboy image in the relevant Westerns directed at the same time, which was not popular in American society at that time, and the box office was relatively poor.

LEAVE A REPLY

Please enter your comment!
Please enter your name here