Kevin Costner Dances With Wolves criticism has become a focal point in the documentary Reel Injun, now available on Tubi, which explores the complex history of Native American representation in Hollywood movies. The film delves into the evolution of Indigenous portrayals on screen, uncovering inaccuracies and the impact of mainstream Western cinema, with sharp focus on Dances with Wolves and its broader implications.
Examining a Controversial Portrayal of Indigenous Peoples
Debuting in 1990 to widespread praise, Dances with Wolves is often noted for reviving the Western genre, yet it has long drawn objections for the way it represents Indigenous Americans. The documentary Reel Injun dedicates significant attention to how Costner’s film—and other notable Westerns—have shaped and sometimes distorted the perception of Native peoples in the public eye. The film’s storyline and character dynamics are scrutinized, as Reel Injun investigates the root of these depictions, contextualized within a broader cinematic tradition that spans from the silent era through to contemporary features.
Through Reel Injun, director Neil Diamond interrogates not just the creative choices of films like Dances with Wolves, but also the entrenched industry practice of casting non-Native actors such as Burt Reynolds, Burt Lancaster, Charles Bronson, and Boris Karloff in Indigenous roles. This reflects a longstanding Hollywood trend that marginalized authentic Indigenous voices and enabled stereotypes to persist, sometimes treating Native characters as mere spectacles for audiences’ curiosity rather than multidimensional individuals.
Neil Diamond’s film chronicles how the depiction of Natives as either “noble savages” or antagonistic figures, especially in works by directors like John Ford, influenced how audiences perceived real-life Native history. Westerns like Stagecoach and The Searchers, often featuring John Wayne in the role of the heroic settler, played a key part in entrenching the figure of the Native American as an adversary.
While Dances with Wolves attempted to challenge some of these patterns, critics and Native commentators—including Graham Greene, who received an Academy Award nomination for his performance, and activist Russell Means—have emphasized that the film leaves much uncorrected. Greene and fellow actor Adam Beach use Reel Injun as a platform to discuss the complexity of accurately representing their cultures, pointing out moments where the film industry has both failed and finally started to improve.
Persistent Stereotypes and Redemptive Change Over Time
Reel Injun reviews a turbulent history of Indigenous representation in Hollywood, tracing the portrayal of Native Americans from films like Nanook of the North—as isolated, simplistic societies—through decades where Indigenous cultures were depicted as primitive, exotic, or diametrically opposed to white American norms. The early 20th-century approach relegated Indigenous people to background figures, rarely considered for substantial or realistic roles.
Film historians featured in Reel Injun note that the shift from casting Natives as “noble” to “bloodthirsty” paralleled broader shifts in American cultural attitudes. Hollywood’s preference for white actors playing Native roles signaled a dismissal of Native talent, a practice that Adam Beach and Graham Greene openly confront in their interviews. Despite these challenges, the film illustrates a notable transformation in the last few decades, recognizing actors like Chief Dan George and Will Sampson, who broke through during the 1970s, as pivotal figures in reshaping the narrative.
Russell Means provides a stark critique of the trope perpetuated by Costner’s film, stating,
“the Lakota tribe is depicted as needing to be taught how to fight by Costner’s character, despite being victorious at the Battle of Little Bighorn.”
He identifies Dances with Wolves as emblematic of the “white savior” story, highlighting a narrative flaw pervasive in many films from earlier eras.
The Documentary’s Deep Dive into History and Cultural Impact
Reel Injun stands out for its willingness to anchor cinematic representation in the lived experiences and histories of Indigenous communities. The documentary juxtaposes the stories and images crafted in Hollywood against the backdrop of forced relocations, assimilation policies, and institutional discrimination that shaped Native Americans’ reality through the 19th and 20th centuries. Scenes depicting the American Indian Movement’s standoff at Wounded Knee, for example, remind viewers that filmic narratives are interwoven with very real struggles for self-determination and cultural survival.
The account of Sacheen Littlefeather accepting Marlon Brando’s Academy Award highlights a turning point in public advocacy, bringing nationwide attention to state violence and the misrepresentation of Indigenous people in American culture. By including such moments, Reel Injun exposes the romanticized and sometimes blatantly fabricated stories that films like They Died with Their Boots On built around events such as Custer’s Last Stand.
The documentary demonstrates that the development of Indigenous cinema has not only mirrored but also actively responded to shifting social and historical realities. This is reflected in contemporary works like Smoke Signals or Atanarjuat: The Fast Runner, which reclaim Indigenous narratives, characters, and storytelling for a new era.
Shifting Perspectives in Contemporary Cinema
The resonance of films like Killers of the Flower Moon—with Lily Gladstone’s acclaimed performance—suggests that the industry is slowly pivoting towards more authentic representations. Interspersed in Reel Injun are discussions about how Indigenous filmmakers like Chris Eyre and actors such as Adam Beach continue to combat outdated tropes and stereotypes, advocating for nuance and accuracy.
Film historians and critics in the documentary underscore how audience expectations and industry practices evolve together, as increased visibility and advocacy slowly begin to replace one-dimensional or harmful characterizations.
“The depiction of indigenous people in Dances with Wolves and other films is addressed in Reel Injun,”
notes director Neil Diamond, explaining that the documentary’s structured approach is essential for holding both the industry and society accountable.
How to Watch Reel Injun and Learn More
Audiences interested in this subject can watch Reel Injun for free on Tubi, where it offers an honest, comprehensive examination of the depiction of Native Americans in the history of cinema. The documentary features appearances and insights from key industry voices, including Norman Cohn, Clint Eastwood, Graham Greene, Chris Eyre, and Adam Beach, who provide personal reflections on progress and remaining challenges in Indigenous cinematic representation.
Reel Injun is recognized for establishing a timeline of how portrayals have changed, underscoring the transformation from misrepresentation to greater authenticity. With films like Dances with Wolves under renewed scrutiny, and Native voices reaching larger audiences, Hollywood is being challenged to reconsider its legacy and reconsider how historical narratives are constructed for future generations.
