The western-epos Dances with Wolves hit the big screens in 1990. It was nominated for 12 Oscars and in the end could win 7 of these prestigious awards (among other things "Best Picture") as well as 3 Golden Globes. Kevin Costner was the most important part of the movie, serving as producer, director and main actor.
The movie tells the story of lieutenant John Dunbar who serves as an officer for the Union in the American Civil War in 1864. After an unsuccessful suicide attempt (that involuntary makes him a hero) he's allowed to choose his future position in the Army. He chooses to be transferred to a lonely duty station. He wants to get to know the Wild West before it is extinct. All by himself (completely marooned) he lives a monotonous and lonesome life. Only 2 animals bear company - his horse Sisko and a Wolf that he befriends and dubs "Two Socks". After several month he has timid encounters with Native Americans (Sioux) - these encounters at first are overshadowed by prejudices (on either side!). Bit by bit, Dunbar and the Native Americans draw near and get to know each other. After a while, John completely forsakes his own culture and adapts his Indian friends' lifestyle. He is happy, hunts and fights with them almost forgot all about his duties as an officer - until one day the US Army appears at the camp...
Authenticity is the keyword that mostly comes to mind when you watch "Dances with Wolves". There's no other Western movie that explores the Indians' lifestyle and culture as detailed (and free of stereotypes) as this movie does. The gently convergence to the individual characters as well as their inner life and (of course) the Indian culture succeeds superlatively over the course of the (epochally long) movie. Costumes, mask, art direction - everything is so convincing that you might even get the feeling to BE situated in the Wild West at that time. One of the reasons for the movie's authenticity is the language - very early they decided to let most of the Native American cast speak Lakota to increase the movie's credibility even further. Also, not all of these dialogs were subtitled, so that the viewers have to figure out for themselves what they might say. But that is not too difficult, most of the time, the situations and actions are quite clear. Many of the actors (and voice actors) had to learn the language for the movie.
About the Versions
There are two different versions of the movie - a shorter and a longer one. But let's start with some "historical" facts first. As is usual, the studio demanded a short verison that could be shown in theatres - the studio planned to have a version that is about 140 minutes long. However, they quickly found out that cutting that much away from the movie would be comparable to cutting away someone's arms and legs. In the end, one agreed on a runtime of roughly 3 hours. Because of the huge success of the movie, they later on released an extended version that offers 50 minutes of additional footage.
Both versions are (depending on the source) often called Director's Cut. However, the German company "Kinowelt" also introduced the label Theatrical Version. This can actually confuse the customers, since both versions (the longer and the shorter one) were shown in theatres. In order to avoid any confusion, the Short Version of the movie will be called Theatrical Version and the long version will be called Extended Version.
About the Changes
All in all, the Extended Version offers changes at 64 points of the movie (compared to the Theatrical Version). The most common change is the insertion of new scenes or the extension of scenes that were already included in the Theatrical Version. However, there are also a lot of title cards and alterations regarding the arrangement of scenes. The following list will give you a little overview about all the different types of changes:
- 38 x new scene
- 15 x extended scene
- 12 x alternative footage
- 5 x alternative text
- 1 x new text
- 3 x postponed scene
- 3 x altered arrangement of scenes
- 3 x shortened scene
For this report, we used the German DVD including the Extended Version (FSK 12) and the German DVD including the Theatrical Version, both a Special Edition and both released by Kinowelt.
Short Version: 173:38 min. (169:06 min. without credits)
Long Version: 226:58 min. (222:23 min. without credits)
Instead of the simple titlecard of the Theatrical Version, the Extended Version offers an animated logo by Tig Productions, resulting in slightly longer opening credits.
5:50 (Time index Theatrical Version)
5:56 (Time index Extended Version)
The soldier's report is longer. He explains that they flew a kite and that it had been shot 10 feet of the ground. Then a shot of the ballon. He continues nothing had moved on neither of the sides the eintire day.
10:03 (Time index Theatrical Version)
10:18 (Time index Extended Version)
The commander looks for Dunbar a little longer. Meanwhile, several soldiers pass him on their horses to follow the enemy. The next sequence begins earlier. There, you at first only see Dunbar's leg, then the commander enters the picture.
12:43 (Time index Theatrical Version)
13:14 (Time index Extended Version)
While in the Theatrical Version you see Dunbar walking through the door a little longer (19 Frames), the Extended Version offers a new scene. Dunbar enters the room and salutes another soldier.
Dunbar: "Where can I find Major Fambrough?"
Soldier: "The way down at the end of the hall."
Dunbar: "Thank you"
The soldier looks at thim, then walks to the door and takes a look.
16:05 (Time index Theatrical Version)
16:57 (Time index Extended Version)
The soldier who provided information for Lt. Dunbar hands a paper with instructions to another soldier (off-camera).
Soldier: "Have this by tomorrow."
Another soldier: "Yeah."
You see major Fambrough coming out of his room in the background. He's pretty confused.
Fambrough: "I'll have my crown now."
Fambrough (firmly): "I'll have my crown now!"
Soldier: "I... I'm sorry, Sir."
He approaches the (obviously nutty) major.
Fambrough: "Are you deaf, fool? I said I'll have my crown right now! Now! Now!"
The major steps back and tries to slam the door in the soldier's face.
While the major tries to close the door, the solder tries to keep it open. He is noticeably shocked because of the major's condition.
Soldier: "I'll get your crown."
The soldier closes the door and the major locks it from inside. The following scene where the major walks towards the window and watches the car with Dunbar and the peasand begins a little earlier.
16:05 (Time index Theatrical Version)
17:29 (Time index Extended Version)
Subsequent to the new scene you in both versions see the major looking through the window, holding a cup in his hand. While he brings his cup to his mouth, you in the Extended Version hear somebody knocking at the door. Then you hear the soldiers voice from off-screen, saying that he wants to give the major his crown.
Soldier (interrogative): "Mayor?"
Then follows a short pause, after that he knocks at the door again. During the next scene (where the major puts the gun to his head) you in both versions hear knocks and jolts at the door - in the Extended Version you hear more of these sounds.
16:27 (Time index Theatrical Version)
17:53 (Time index Extended Version)
In the Extended Version now follows another new scene. Several people (also children) walk towards the building and crowd around the windows. You can see the bloodsplattered windowpane with a hole - this scenery is shown from inside. The camera pans down from the window (where the crowd of people in front of it). Then, the panning shot goes on along the dead major. You see the door being forced open in the background. The persons enter the room and stare at the dead major.
17:29 (Time index Theatrical Version)
19:28 (Time index Extended Version)
A shot of the countryside. A soldier looks throug his telescope.
19:51 (Time index Extended Version)
Subsequently you in the Extended get to see a scene that was included later in the Theatrical Version. At first you see a shooting star in the sky, then you see John Dunbar drawing it in his diary. His companion laughs and asks him why he doesn't write it down instead of drawing it. Dunbar doesn't answer. Then follows a dissolve to the next scene.
21:11 (Time index Extended Version)
Subsequent to the scene at the bonfire follows a pretty long scene that was not included in the Theatrical Version. John Dunbar's companion (wearing gloves) eats something out of a can. He pours the rest of it in his mouth. Then he throws the can away. Dunbar's horse (which follows the man's wagon) kicks at the can serveral times, resulting in brazen sounds. Contrary to his companion John is not amused. After a short oause, John addresses a question to his companion.
John Dunbar: "How far we make the fort?"
Dunbar: "How far?"
Companion: "40, 50 miles maybe. What's the hurry with Sedgewick?"
Dunbar: "It'll be my post."
Amazed, the peasant turns around. Then follows a close up shot of Dunbar.
Dunbar: "My home."
The peasant turns back around and laughs.
Companion: "You're not really hard to please,I'll give you that buddy."
Again there's a close up shot of Dunbar. From off-screen you can hear his companion trying to steady the horses and tells Dunbar to look in a particular direction. whereto he points with his arm. You can see the remains of a coverd wagon behind a small hill.
18:06 (Time index Theatrical Version)
Now you in the Theatrical Version see the scene at the bonfire that could already be seen in the Extended Version at 19:51 (see above). Logically, the movie dissolves to a different scene than in the Extended Version.
22:54 (Time index Extended Version)
In the Extended Version you instead see another new scene. You again see the soldier with the telescope, watching the surroundings in the gray of dawn. Subsequently you shortly see the sunrise.
19:24 (Time index Theatrical Version)
23:21 (Time index Extended Version)
Both versions show the same image section. However, they are not the exact same scene. This is especially noticeable when you take a look at the horse that browses to the left of the covered wagon. In the Extended Version the horse is standing closer to the wagon. Additionally, the heaven seems to be a bit more "yellow" in the Extended Version. This difference is probably connected to the sunrise that was shown prior to this scene. On the left you see an image from the Theatrical Version, on the right the one from the Extended Version.
21:37 (Time index Theatrical Version)
25:34 (Time index Extended Version)
The commander who looked out throuh his telescope several times asks a corporal to come out of his housing inside the mountain. The latter hesitates but finally comes out. There are scraps and material everywhere. You can notice that everyone feels uneasy.
Commander: "Corporal Guest! ...Corporal Guest!"
The corporal doesn't answer. You only see him watching the commander from inside his housing.
Commander: "Corporal Guest, you don't have to talk to me but please come out."
After a longer pause and anxious glimpses the corporal comes out. You only see his feet.
Commander: "It's the end." Then he tells him to call his men.
Scene change. While the camera passes the men standing in line from behind, their commander talks to them. None of the men wear their uniforms, they all look windswept and dead tired.
Commander: "You hate me. But I feel not the same for you. You men stayed. You stayed after they took all our horses, you stayed after all the others deserted, you after the army failed to resupply us. I have looked for that wagon from Fort Hays, just as you have. Day after a miserable day. And all I can say is that I'm proud of you. Noe get your things men, we're leaving this place. The army can go to hell."
The men quizzically look at each other and don't really want to move.
Commander: "Go. Get your things."
Finally, the troops moves into gear - they all start running to leave this place as soon as possible. The commanding officer enters a wooden hut. The camera stops at a sign near the entrance and you can see where the scene takes place - in "Fort" Sedgewick Lt. Dunbar's future base. Again a scene change. You see the wolf for the first time. From a distance it watches the remaining men's departure.
22:15 (Time index Theatrical Version)
28:50 (Time index Extended Version)
The extended version contains a new shot. It shows Dunbar turning around in the cornfield, touching the wavy corn lightly with his hands. Suddenly, he hears a sound and looks over to his horse. A strong breeze springs up which John seems to feel uneasy about. He mounts the horse and rides off.
27:00 (Time index Theatrical Version)
34:31 (Time index Extended Version)
A fairly short shot of the wolf strolling along a river.
27:29 (Time index Theatrical Version)
35:09 (Time index Extended Version)
After John has brought his diary up to date (seen in both versions), he wants to go to bed. Just as he is about to turn off the light, he hears the wolf howling from far off. He looks around and eventually takes his revolver out of the holster. Once again he is about to turn off the light, but then he changes his mind and leaves it on.
28:33 (Time index Theatrical Version)
37:10 (Time index Extended Version)
John is repairing a fence. At that, he executes the same movements, but he carries a different board each time. Furthermore, the horse walks through the picture a little later in the Extended Version. The whole scene is slightly longer in this version, too.
29:44 (Time index Theatrical Version)
38:25 (Time index Extended Version)
In the Extended Version, this scene has been slightly expanded. First one sees another dead deer in the water and then, from the riverbank, one can see John standing helplessly on the shore. He thinks, looks at his horse briefly and then at the river again. One can see a close-up of the dead stag again.
29:56 (Time index Theatrical Version)
38:50 (Time index Extended Version)
After a scene common to both versions, the extended version contains another very long new scene. Here one can explicitly see John Dunbar catching a large number of carcasses out of the river. Meanwhile, his train of thoughts concerning the incidents can be heard from off the screen:
Dunbar (off-screen): "The animals in the ponds had not been poisened. They'd all been shot. But why? Was it for sport? Could it have been out of spite? My first guess would have been the men here were starving. But his rotting race speaks to the contrary. The caves are a even bigger mystery. What could have driven men to live in caves? Perhaps they were frightened. Maybe there has been some sort of revolt. I can make no sense of the clues left me here. Perhaps my relief will provide me answers."
33:32 (Time index Theatrical Version)
44:14 (Time index Extended Version)
An Indian man is eating an egg. He looks around and from a distance one can see the Indian who had shot the farmer.
Here, the scene starts with the second part, but from a slightly different perspective. The Indian who is far away is still sitting on his horse. The Indian who is close by turns around. One of his companions smells at a blanket and tosses it away in disgust. Then he smells at his hands and cleans them with sand. The Indian turns around again and starts eating an egg. However, this is seen from another perspective here.
The extended version is significantly longer. Now, both versions continue with the scalping of the farmers.
35:40 (Time index Theatrical Version)
46:39 (Time index Extended Version)
John Dunbar is sitting on his horse and looking through his telescope. During these four seconds, one can hear the first part of his diary entry from off-screen.
Dunbar: "It's been almost 30 days. Still no sign of Cpt. Cargill's command..."
The text is continued in the following scenes.
Initially, Dunbar sits on the grass next to his horse. Then he gets up, looks around, mounts his horse and rides off. Meanwhile, new thoughts of his (probably diary entries) are heard from off the screen.
Dunbar: "It's been almost 30 days. I've come to enjoy the paterns of my life at Fort Sedgewick, especially my daily reconnaissance ride with Cisco. Each day, we go further into the prairie and every discovery, big or small, becomes edged in my mind forever. It would seem like I've been marooned, there's no one who's yet come for me. I can only assume that there is a problem that the army will solve shortly. Maybe I'm being foolish in my optimism, but when I look to the eastern horizon, I never felt a hope that a caller might be out there."
35:44 (Time index Theatrical Version)
47:15 (Time index Extended Version)
In this longer sequence of several scenes, both versions show the same pictures. First one sees a short shot of the sky and then John writing in his diary. In between times, there are several shots of the wolf, watching John closely. However, the text differs in both versions.
Theatrical Version: Here, the text of 35:40 is resumed.
Dunbar: " ... Cargill's command. Communication can only take place if I leave and I don't want to abandon my post. Though well supplied, I've decided to ration my goods as if I were part of the post rather than the whole affair. There's a wolf who seemed to intend for what's going on here. He does not seem to climb to the amusives however. Beside from Cisco he's been my only company. He's appeared each afternoon for the past two days. He has two milky-white socks on both feet. If he comes call in tomorrow, I will name him 'Two Socks'."
Extended Version: Während der Aufnahme des Himmels gibt es hier gar keinen Text. Der Text setzt erst mit der nächsten Szene ein, in der John in sein Tagebuch schreibt.
Dunbar: "Still no sign of Cpt. Cargill's command. Though well supplied, I've decided to ration my good as if I were part of a post rather then the whole affair. There's a wolf who seemed to intend for what's going on here. He does not seem to climb to the amusives however. Beside from Cisco he's been my only company. He's appeared each afternoon for the past two days. He has two milky-white paws. If he comes call in tomorrow, I will name him 'Two Socks'."
35:44 (Time index Theatrical Version)
47:15 (Time index Extended Version)
Subsequently, a very long new sequence has been added in the extended version. Dunbar wants to go on a ride and fetches the tack from the shed. He looks at his horse and then at his saddle. Subsequently he throws the saddle back into the shed. First he only walks the horse on the leash. The wolf follows him at some distance. John turns around in surprise a few times. As he starts galloping, the wolf remains behind. Scene change. Heavy rain. There is a tracking shot across the diary and one can hear John's entry as a voice from off the screen.
Dunbar: "Almost a month and no one has come. The longer this condition persists the less I believe that anyone will. The rain has forced me indoors for almost two days now and I've begun to work on an awning. It's the loneliest of time for me now but I can say honestly that I'm not unhappy."
Dunbar steps outside into the drenching rain and chucks a piece of meat to the wolf which fetches it. Then he walks to his horse for which he has built a small roof.
39:30 (Time index Theatrical Version)
53:49 (Time index Extended Version)
After Lt. Dunbar has buried the weapons, the Extended Version shows him scattering the dry soil with his foot in order to make the spot irrecognizable. As a consequence, the off-screen text, which is the same in both version, shifts correspondingly.
40:00 (Time index Theatrical Version)
54:33 (Time index Extended Version)
At the camp of the Indians. "Kicking Bird" walks around, headman "Ten Bears" talks to his wife.
Ten Bears: "Kicking Bird has been keeping to himself. I do not like to see our medicine man going around alone. What does his wife say?"
Wife: "She says he's keeping to himself."
Ten Bears: "That's not what I asked."
Wife: "Well, what did you ask me?"
Ten Bears: "She says he's keeping to himself these days."
Wife: "That's what she said."
The wife gets up.
Ten Bears: "Make sure that my meat is soft. My teeth hurt."
"Kicking Bird" plays with his child in his tent. "Ten Bears" arrives.
Ten Bears: "May I come in?"
"Kicking Bird" wants his child to leave, but "Ten Bears" says: "no, he can stay with me." (maybe he's his grandffather). "Kicking Bird" offers "Ten Bears" sth. to eat, but he refuses. The headman begins to talk.
Ten Bears: "Our country seems good this summer. But I have not been out to see it. But the buffalo are late. I'm always worried about the bellies of our children."
Kicking Bird: "I was thinking of a dance."
Ten Bears: "Yes. A dance is always a good idea. It would be good to have a sign."
"Kicking Bird" stuffes the pipe and gives it to the headman. He lights the pipe, takes a puff and blows the smoke upwards.
Ten Bears: "It's a funny thing about signs. We know when they are bad or good. But sometimes they are strange and it's hard to understand them. A wise man will think about these things. Of he is still confused, he will tell somebody. You and me, for instance. A wise man always does this."
Kicking Bird: "I have seen such a sign."
Ten Bears (surprised): "Really?"
"Kicking Bird" doesn't reply at first. "Ten Bears" whispers sth. to the boy whereupon he leaves the tent. When the boy is gone, "Kicking Bird" begins with his report.
Kicking Bird: "I saw a man. A naked, white man."
Ten Bears: "Are youu sure it was a man?"
Kicking Bird: "I saw his sex."
Ten Bears: "Did you speak to him?"
Kicking Bird: "No."
Then the scene in the Indian camp ends and the versions are in synch again.
40:14 (Time index Theatrical Version)
58:00 (Time index Extended Version)
Distance shot of the diary in the Theatrical Version, followed by a pan shot of John Dunbar sleeping.
The Extended Version begins with a pan shot from a gun to the diary. Then a cut to John Dunbar sleeping. The diary entry, which is audible via voice over, starts sligthly later in the Extended Version. The text is the same. In total the Extended Version is longer.
40:26 (Time index Theatrical Version)
58:22 (Time index Extended Version)
The scene at the Indian camp starts earlier. The conversation of the Indians is longer and contains alternate footage here and there. First the curious Indians standing around the tent, inside a conversation about the white man.
Listed is just the additional text from the Extended Version.
Kicking Bird: "He might be a god. Or a white chief with special abilities. We should talk to him."
43:06 (Time index Theatrical Version)
1:01:19 (Time index Extended Version)
The Indian children want to ride to the white man, but they don't really agree with each other.
Child 1: "What's the matter?"
Child 2: "We don't think this is a good idea."
Child 1: "If we take the horse of a white god, they will write songs about us."
Child 2: "Maybe."
Child 1: "They will let us go on raids."
Child 2: "Who gets the horse?"
Child 1: "I do."
The other two children have a dissatisfied expression on their faces.
Child 1: "But we share. Isn't that a great plan?"
He keeps on riding without waiting for a reply.
Child 2: "It's always the same."
The two others follow.
47:57 (Time index Theatrical Version)
1:06:56 (Time index Extended Version)
A messanger encounters the little group that decided to go to John Dunbar. He has bad news.
Messanger: "The party that went against the Utes is coming back. Many have died."
Subsequently they hurry to get to the camp. Having arrived, they grieve and burry the bodies. One of the grieving people is "Stands With A Fist", she grieves about her husband. Later this will be in issue. Then the beginning of the death songs.
59:28 (Time index Theatrical Version)
1:20:21 (Time index Extended Version)
John Dunbar shows the grinded coffee powder to the Indians. One of the Indians grabs some powder and takes a smell.
1:00:15 (Time index Theatrical Version)
1:21:32 (Time index Extended Version)
"Wind In His Hair" puts some sugar in the other Indians' mugs.
1:00:33 (Time index Theatrical Version)
1:22:02 (Time index Extended Version)
Additional shot of the Indian camp. A young Indian guides a horse across the camp. Two Indian woman come out of a tent. "Kicking Bird" watches "Stands With A Fist" doing some tanning and goes to her.
1:03:05 (Time index Theatrical Version)
1:25:04 (Time index Extended Version)
After her outburst of feelings, "Stands With A Fist" wanders around the bushes. Then she calms down and kneels down.
1:03:51 (Time index Theatrical Version)
1:26:42 (Time index Extended Version)
Alternate footage and new order of scenes
Extended shot of the Pawnee Indians' arrival at the white seddlers (Christine's family). The scene contains new footage, the order of the scenes has been changed as well. The main difference: extended shot of the mother calling for Christine (new scene) plus her respone (she's lying on top of the roof).
In the Director's Cut, Christine doesn't response.
The Extended Version contains more scenes, that's why it's longer.
The wandering mother calls for her daughter.
Mother: "Christine! Christine! Where are you?"
Christine and a boy lying on the roof. They turn around and Christine replies to her mother.
Christine: "I'm up here, mother!"
Mother: "Get down now!"
Mother: "Just do as I..."
She chokes on the word when she turns around and recognizes the Indians coming closer. Then the scene with the child and the dogs, followed by a shot of the mother looking up to the children.
Mother: "You stay right where you are. Get back! Do you hear me?"
The children obey and move backwards. Then a shot of the two men and the Indians approaching, followed by a sideshot of the children on the roof, then another shot of the square. The mother rushes to the little child, which is still playing with the dog. Then another scene with the children.
Christine: "Who is it Willi?"
Boy: "They look like Pawnee. My father and your father are talking to them."
The fathers talk to the Indians. One of them makes a clear gesture with his hand which implies that he wants the Indians to leave. Then Christine on the roof again. With the following scene, the versions are in synch again.
The mother calling for Christine plus the two children crawling on the roof.
Mother: "Christine! Christine, where are you?"
During that a shot of the children without the mother. In the following shot, the two men approach the Indians. Then the mother's voice over again.
Mother: "Come on, you've got to get in the house right now!"
A man asks the Indians about the purpose of their visit, then the scene with the little child playing with the dog. Cut to the children on the roof.
Christine: "Wer ist dasho is it Willi?"
Boy: "They look like Pawnee. My father and your father are talking to them."
While the boy is still talking, a shot of the square follows. The mother runs to the little child, who is still busy with the dog. With the next scene, the versions are in synch again.
1:06:00 (Time index Theatrical Version)
1:29:14 (Time index Extended Version)
Extended scene and new order of scenes
A Lakota delegation rides to Lt. Dunbar to ask if he saw "Buffalo". A short scene is new and two of the following scenes have been switched.
1:13:17 (Time index Theatrical Version)
1:36:34 (Time index Extended Version)
Extended scene and alternate text
"Stands With A Fist" (Christine), John Dunbar and "Kicking Bird" at the edge of a canyon at dusk. In the Theatrical Version, they continue walking after they rested for a short period before.
In the Extended Version, a couple of stones are being tossed in the canyon while John Dunbar's thoughts are audible via voice over.
Dunbar: "There has been an exciting breakthrough with the Indians. Thw woman I found on the prairie speaks English and today clear progress was made. She is a white woman and though I cannot be sure how she came to be with these people. I can tell she is not a captive. While I'm not afraid, I don't feel completely welcome by everyone in the village. My being here must be Kicking Bird's idea. He's very enthusiastic and like two children we're both anxious to know morte about each other. But I find myself holding back. For some reason I'm reluctant to answer all his questions. Maybe it's my sense of duty but sth. tells me not to say too much."
1:13:33 (Time index Theatrical Version)
1:37:15 (Time index Extended Version)
The following scene, which is in both versions, shows John Dunbar sitting with the diary in front of the bonfire in his fort. While there's just music in the Extended Version, there's a voice over of John's thoughts in the Theatrical Version.
Dunbar: "There's been an exciting breakthrough with the Indians. A woman among them speaks English ans today quick progress was made. For some reason I'm reluctant to answer all their questions. Maybe it's my sense of duty but sth. tells me not to say too much."
Now a further, almost identical text which starts slightly earlier in the Extended Version.
Dunbar (voice over): "It was good to see Fort Sedgewick again. And yet I look forward to another visit with my new neighbors."
After a short break, he continues.
Dunbar: "This is still my home, however I remain watchful for my relief and can only hope that my negotiations with the wild people will bear fruit."
Dunbar (voice over): "It was good to see Fort Sedgewick again. I look forward to another visit with my neighbors but this is still my home. I remain watchful for my relief and can only hope that my negotiations here will bear fruit."
1:18:08 (Time index Theatrical Version)
1:41:50 (Time index Extended Version)
Two point men arrive, they have a talk with the troup leaders. Apparently some danger threatens. "Wind In His Hair" tosses a spear into the ground. Subsequently several warriors hang quivers with arrows around their necks, a small troup gallops away. The main troup wanders on the main track. The entire scene is being interrupted by cuts to Dunbar, who attempts to understand what's going on there.
1:21:15 (Time index Theatrical Version)
Now a scene of the Indian camp at night in the Theatrical Version. While the Indians are celebrating in the background, a shot of John in the foreground. He explains he couldn't spend the night because he had to sleep alone. This scene is also in the Extended Version, but later.
1:46:05 (Time index Extended Version)
Now a longer sequence, which shows the Indians building up their camp, in the Extended Version. John Dunbar and "Stands With A Fist" looking at each other. "Kicking Bird" and some others intent to make a research ride and take Dunbar with them. They leave together and the wife watches them leaving.
1:49:03 (Time index Extended Version)
The buffalo patrol returns to the camp when it's dark. The people at the camp are celebrating and dancing. John doesn't ride to the bonfire with the Indians, he holds his horses instead. He looks around and suddenly realizes what the celebration is about. The Indians killed some white men (presumably those who killed the buffalo). A monolog of his starts via voice over when he sees a chopped off hand in a tree.
Dunbar: "It was suddenly clear now what had happened to them. And my heart sank because I tried to convince myself that the white men, who had been killed, were bad people and deserved to die. But it was no use. I tried to believe that Wind In His Hair and Kicking Bird and all the other people who shared the killing were not so happy for having done it. But they were. As I looked in familiar faces, I realized that the gap between us was greater than I could ever have imagined."
After this monolog the dancing Indians again.
1:51:02 (Time index Extended Version)
Now the scene already shown at 1:21:15 in the Theatrical Version (see above). Now it becomes clear why John doesn't want to spend the night at the Indians' camp.
1:24:34 (Time index Theatrical Version)
1:52:52 (Time index Extended Version)
The troup in the prairie. Suddenly three young Indians arrive to take in the hunt. Two of the old Indians ride over and demand insistently that they return to the camp.
1:27:47 (Time index Theatrical Version)
1:56:49 (Time index Extended Version)
Different shot of the herd of buffalo, the Extended Version is sligthly longer.
1:36:09 (Time index Theatrical Version)
2:05:13 (Time index Extended Version)
Shot of the landscape and the camp at dawn. John gets up and searches his horse in a group of horses. There he mets an yound Indian woman. They're smiling at each other.
1:37:34 (Time index Theatrical Version)
2:07:36 (Time index Extended Version)
Now the intermission in the Extended Version, freeze frame included.
2:10:19 (Time index Extended Version)
Right after the intermission, the Extended Version contains an additional, very long scene. John Dunbar is back at the fort and writes his diary. His thoughts are presented via voice over, as usual.
Dunbar: "Made a long patrol today. There's nothing to report. Times seems irrelevant except for the fact that I'm bored and these hours alone are endless."
Shot of several mice gathering in a box, eating some food. Dunbar looks at his pocket watch.
Dunbar: "It is difficult for me to muster any enthusiasm for my regular duties here. And the fort is showing serious signs of neglect. But truth is I'm missing the company of my friends. I can see all their faces but somehow it is not enough. Tomorrow I will pay them a visit. It may be forward of me but what can it hurt? After all they are my neighbors."
John finds a dead bird in front of his door, the head has been ripped off. He looks around and recognizes the wolf on the hills. Both of them are looking at each other for an extended period. Did the wolf kill the bird to supply some food because John fed some meat to thw wolf? Then a change of scenary. After sunset, John is at the bonfire and eats. Suddenly the wolf shows up. John tosses a peace in his direction, the wolf picks it up and leaves. That scene is accompanied by one of John's voice overs (text from the diary).
Dunbar: "The night sounds have become so familiar as to be comforting. My life on the prairie is a good one for the most part and I'm content. The Indians have a great pull for me that goes beyond curiosity. There's sth. wise about them and I find myself drawn to them in ways much stronger than my abligations to the military."
1:38:35 (Time index Theatrical Version)
Alternate text and shortened scene
Dissolve from the bonfire to the torn flysheet. Some of the footage has already been used at 2:10:29 in the Extended Version. Again Dunbar's thoughts via voice over, but way shorter this time.
Dunbar: "Only two days and it seems like a week. And I'm missing the company of my new friends. I can see all of their faces but somehow it is not enough. Tomorrow I will make an unannounced visit. After all they are my neighbors. What can it hurt?"
The Extended Version contains an extended shot of the bonfire instead.
1:38:55 (Time index Theatrical Version)
2:14:05 (Time index Extended Version)
Additional scene, new order of the scenes and alternate footage
The eponymous scene contains new footage in the Extended Version. Furthermore the Extended Version contains additional text and is also longer.
First a shot of the wolf in the prairie. Change of scenary: Dunbar arrived at the hills the wolf is running up.
First John Dunbar on his horse, he turns around twice. The wolf is not in the current scene. Then the first scene from the Theatrical Version with the wolf in the prairie, Dunbar is not in that scene. Moreover the scene doesn't contain any music, in comparison to the Theatrical Version. Then Dunbar again, he wants to send the wolf home.
Dunbar: "Go home! Go home!" Then he insults the wolf.
After that a new scene with John riding up the hills, but from another perspective. Here the music restarts. Cut to the wolf, who is being presented sideways via close-up, running up the hills as well. Finally John and the wolf together.
1:40:00 (Time index Theatrical Version)
2:15:30 (Time index Extended Version)
The Theatrical Version only contains a short shot of the Indians riding to Dunbar, then a dissolve to another scene.
The Extended Version contains a longer shot of the riding Indians on their way to Dunbar. One can see the front of the Indians here.
Stone Calf: "You were right. He is a very special white man."
Kicking Bird: "He should have a real name."
Here a tiny gag has been implemented. While the two other Indians lift up their hand to respond to John's greeting, "Wind In His Hair" doesn't respond at first. But when "Kicking Bird" gives him a disgruntled look, he reluctantly lifts up his hand for a short period as well.
1:43:47 (Time index Theatrical Version)
2:19:40 (Time index Extended Version)
Headman "Ten Bears" says good bye to the warriors, that are going to war with Pawnee.
1:44:16 (Time index Theatrical Version)
2:20:31 (Time index Extended Version)
After the warriors' departure, "Dances With Wolves" (aka John Dunbar) wanders around in the camp, preoccupied in thoughts. He sits under a tree and takes a pull on his canteen. "Stands With A Fist" searches him and asks him if he wanted to go for a walk with her.
1:45:05 (Time index Theatrical Version)
2:21:59 (Time index Extended Version)
"Stands With A Fist" teaches "Dances With Wolves" Lakota. But he pronounces some things wrongs which makes "Stands With A Fist" laugh. An Indian child arrives and talks to "Stands With A Fist" in Lakota. She leaves with the child, John watches them. Then a shot of the camp at dusk. "Stands With A Fist" works at a doll and talks to another Indian woman next to her.
Indian woman: "How is Dances With Wolves?"
Stands With A Fist: "What do you mean?"
Indian woman: "How is he learning?"
Stands With A Fist: "He is a fast learner."
Indian woman: "What did you think I meant?"
"Stands With A Fist" doesn't reply, the Indian woman grins. In the next scene, "Dances With Wolves" is on the horse in front of "Stands With A Fist's" tent. She comes out and "Dances With Wolves" talks to her in Lakota.
Dances With Wolves: "You go to get water?"
"Stands With A Fist" agrees.
Dances With Wolves: "Let us take you."
He points at his horse, "Stands With A Fist" nods.
1:47:38 (Time index Theatrical Version)
2:26:47 (Time index Extended Version)
"Stands With A Fist" grinds spices with a puncher. An Indian woman comes in and starts a conversation.
Indian woman: "You are not talking to him today?"
Stands With A Fist: "No, I'm not."
The woman looks irritated but doesn't say anything. In the following scene "Dances With Wolves", he overviews the camp plus he looks disgruntled. Change of scenary. John at the bonfire, he eats sth. He is engrossed in thought and it's very likely what, or should I say who, he's thinking about.
1:50:39 (Time index Theatrical Version)
2:31:06 (Time index Extended Version)
John Dunbar is back at the fort. Distance shot of him leading the horse through the battered camp in the Extended Version.
1:53:18 (Time index Theatrical Version)
2:33:55 (Time index Extended Version)
Additional scene and alternate footage
First a new scene of John leaving the fort in the Extended Version. He's headed to the Indians' camp. Then different footage of "Stands With A Fist" in the water in either of the versions. The Extended Version is 22 sec longer.
1:54:37 (Time index Theatrical Version)
2:35:36 (Time index Extended Version)
Extended shot of "Dances With Wolves" and "Stands With A Fist" coming out of the water. They look fondly at each other and hold each others hands.
2:02:18 (Time index Theatrical Version)
2:43:32 (Time index Extended Version)
One of the attacking Pawnee Indians goes into a tent with women and children of the Lakota in it. He grins satisfied, but then he gets hit in the back by two arrows, which withholds him from laying hands on women and children.
2:02:24 (Time index Theatrical Version)
2:43:57 (Time index Extended Version)
The Pawnee warrior in the tent isn't dead yet. An old Indian woman picks up a club and hits the warrior's head three times (offscreen).
2:06:34 (Time index Theatrical Version)
2:48:16 (Time index Extended Version)
Additional scene and alternate footage
The following sequence contains both alternate footage and the same footage. The Extended Version is longer.
First some scenes of dancing people at the bonfire. Then an arriving Indian troup. The horsemen look like ghosts in the darkness. Then both versions are in synch for a couple of seconds. Subsequently different footage for a couple of seconds, then the versions are in synch again.
Extended shot of the riding Indians after the meeting in the Extended Version at daytime. After the change of scenary, a different dancing scene at the bonfire follows. Then the versions are in synch for a couple of seconds, followed by different footage for some seconds. Finally the versions are in synch.
2:07:11 (Time index Theatrical Version)
2:49:04 (Time index Extended Version)
Extended scene and alternate footage
Subsequent to the before-mentioned scene, a shot of "Ten Bears" follows. She tells a story of her youth. The scene starts earlier in the Extended Version and she talks longer. The subs are slightly different but the text should be the same, even though some of them are shunted to another time. The first part (in both versions) has slightly different footage, but to realize that a frame by frame comparison would be required. That's why I just listed the new part of the scene.
Woman: "When we were young, he always bragged abut his courage. And what a great chief he would be. He thought I would be impressed. Once we ran into a herd of buffalo on the prairie..."
2:10:21 (Time index Theatrical Version)
2:52:33 (Time index Extended Version)
The Extended Version contains an additional, quite long sequence here. John sits in front of his tent. Suddenly someone knocks and "Wind In His Hair" and a young Indian (assumingly his son) come in. He starts talking to John.
Wind In His Hair: "Sit. Sit."
The guests take a seat as well.
Wind In His Hair: "They say that you want to get married."
Dances With Wolves: "To who?"
Boy: "Stand With A Fist."
Wind In His Hair: "It's her, isn't she?"
Dances With Wolves: "She's mourning."
Boy: "Not today."
Wind In His Hair: "Kicking Bird has released her."
Dances With Wolves: "He did?"
"Dances With Wolves" looks doubtfully from one to another and the boy nods affirmatively.
Wind In His Hair: "What are you doing here?"
Dances With Wolves: "Kicking Bird told me to wait."
Wind In His Hair: "You might have to wait a long time. He saw Kicking Bird riding on the prairie, talking to himself."
The boy whispers sth. in "Wind In His Hair's" ear.
Wind In His Hair: "A medicine man takes it pretty hard when he's the last one to know."
Dances With Wolves: "What do I do now?"
Wind In His Hair: "You're pretty poor and a Sioux-girl is not for free."
Thereby he looks around in the tent.
Wind In His Hair: "I don't know if you can get married."
"Dances With Wolves" looks clueless and the others give him a look that says everything.
Dances With Wolves: "I have a horse!"
Wind In His Hair: "That's too much medicine."
Then "Dances With Wolves" turns to the boy.
Dances With Wolves: "Do you think my horse is too much medicine?"
Boy: "It is for a girl."
Wind In His Hair: "Wait here. Maybe we can help you. Wait."
Dances With Wolves: "It's all I do is wait!"
The two Indians leave the tent. The next scene shows "Dances With Wolves" with the horses. Two old Indian women arrive and give him things which could be used as gifts. He thanks them, then his voice over restarts: "The whole village was eager to take a colletion on my behalf. The generousity of people was astonishing. The more value the gift, the more usuallay it was given. Even the poor families wanted to give up animals they could not afford. It was hard to turn them away. Black Schal was a mystery. I couldn't guess what she was thinking and she offered no advice. No words of encouragement. I may well have been part of an inside joke that included the entire village, but I was determined. Wind In His Hair told me when all the gifts were gone in the morning my offer had been accepted. I spent a sleepless night wondering what mistake I may have made. I had no idea what Kicking Bird's decision would be."
2:13:32 (Time index Theatrical Version)
2:59:09 (Time index Extended Version)
The three young Indians leaning against a tent, talking to each other. They are wrapped in thick fur.
Boy 1: "We don't see Dances With Wolves much these days. They're having trouble making a baby."
Boy 2: "I don't think so."
Boy 3: "If we pull the smoke flap shut, they're sure to come out."
When they want to get down to work, "Kicking Bird" appears and gives them a severe look. Due to that look, the boys leave immediately.
Kicking Bird: "Dances With Wolves, are you in there?"
Dances With Wolves opens the door and looks out.
Kicking Bird: "Today I'm riding to a far away place. I'd like you to come with me."
Dances With Wolves nods.
2:14:34 (Time index Theatrical Version)
3:01:29 (Time index Extended Version)
"Kicking Bird" and "Dances With Wolves" riding, enjoying the nature. In the woods, they find the remains of a settlement of white men. Flysheets, animal cadavers and further garbage lies around.
2:16:57 (Time index Theatrical Version)
3:08:03 (Time index Extended Version)
Earlier beginning of the dismantling of the camp.
2:22:26 (Time index Theatrical Version)
3:13:46 (Time index Extended Version)
Extended scene and alternate text
The scene, where John Dunbar is being asked if he was a redskin now, is different. Furthermore the scene is longer in the Extended Version. Some soldier arrive to communicate with John.
The soldier asks: "Turned Indian, didn't you? " While the camera shows John, the soldier asks again: "Didn't you?".
After the shot of John (a couple of frames shorter), a shot of the soldier again. Here he says: "Turned Indian, didn't you? Didn't you?" Noises of the other arriving soldiers in the background.
Soldier: "What did you say your name was?"
Dunbar: "Dunbar. D-U-N-B-A-R. John".
Soldier: "You say you're an Officer."
Dunbar: "Did... did you read my order?"
Dunbar: "Well, they're in my journal."
Soldier: "There are no orders. There's no journal."
John Dunbar lowers his head.
Soldier: "Why aren't you in uniform?"
Dunbar: "I have to relieve myself."
Soldier (to a comrade): "Seargent, take care of it."
Soldier 2: "Yes, Sir."
Commander: "Let's go."
He pulls John up.
2:25:37 (Time index Theatrical Version)
3:17:46 (Time index Extended Version)
The Lieutenant, who left Fort Sedgewick with his men at the beginning, sits on the hills and watches John washing his face in the river. A soldier arrives and talks to him.
Soldier: "Lieutenant, Lieutenant!"
The Lieutenant gets up and looks at him.
Soldier: "The Mayor wants to see you."
The Lieutenant nods and leaves. The Lieutenant looks at the fort, then he puts on his head and leaves.
3:27:58 (Time index Extended Version)
Ineffably, the beginning of the scene with "Wind In His Hair" has been shortened in the Extended Version.
2:35:42 (Time index Theatrical Version)
Removed scene and alternate footage
Now a shot in the Theatrical Version that appears later in the Extended Version. Then again the shot contains alternate footage: close-up of a dead soldier lying in the grass in the Theatrical Version.
3:28:22 (Time index Extended Version)
The Indians push the Army's chariot out of the river. "Wind In His Hair" goes to "Dances With Wolves". One of the soldiers lies dead in the grass. "Wind In His Hair" pulls out his knife to scalp the dead man, but "Dancing With Wolves" holds him back.
Dances With Wolves: "No, no."
By bottling "Wind In His Hair" up, he can spoil the second attempt as well. That's why he holds his knife out to "Dancing With Wolves", but he rejects it. "Wind In His Hair" leaves without having achieved anything.
2:35:42 (Time index Theatrical Version)
3:28:22 (Time index Extended Version)
John looks around in both versions. In the Theatrical Version, the shot is slightly longer.
3:29:10 (Time index Extended Version)
Removed scene and alternate footage
Now the Extended Version contains the scene already shown at 2:35:42 in the Theatrical Version (see above). Here we have a close-up of the dead soldier in the grass as well, but one can notice John's boots in the background because he's passing by. The boots don't show up in the Theatrical Version plus the scene is slightly longer in the Extended Version.