Kapitel 384: Chapter 385: The Screening
[Chapter 385: The Screening]
Dances with Wolves had a runtime of 236 minutes, almost four hours long, which meant it couldn't possibly be watched in one morning. Eric, the distribution executives from Fox, and several renowned critics in the industry watched the first two hours together. After having lunch, they finished the last two hours.
Eric had never seen this film in his previous life. He had only skimmed through the published original novel during his research. Now, as he watched this four-hour movie, he wasn't preoccupied with concerns about what kind of distribution strategy Fox might need or where the promotional points lay, like the distribution personnel at Fox.
Fully immersed in the story, Eric found it just as enjoyable as the invited critics.
Traditional Western films often promoted white supremacy and heroic ideals, usually featuring a narrative where white settlers resisted and conquered the evil forces of the native peoples during the pioneering era. However, Dances with Wolves took an entirely opposite approach.
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The film begins in 1863 with Lieutenant John Dunbar, a disillusioned Union soldier, performing a suicidal ride across enemy lines. His act unexpectedly rallies his comrades to victory, earning him a commendation and the option to choose his next assignment. Dunbar requests a remote outpost on the western frontier, seeking solitude and a fresh start.
Arriving at the desolate Fort Sedgwick, he finds it abandoned and falling into ruin. Determined to rebuild, he embraces the isolation and begins journaling his experiences. His solitude is soon interrupted by encounters with a wolf he names Two Socks and the neighboring Lakota Sioux tribe. Though their first meetings are tense and wary, Dunbar gradually earns their trust, forming an unlikely friendship with Kicking Bird, the tribe's wise leader, and Wind In His Hair, a proud warrior.
As Dunbar learns their language and traditions, he finds himself captivated by their culture and their harmonious relationship with nature. He falls in love with Stands With A Fist, a white woman raised by the Sioux, and is given the name Dances With Wolves. His transformation is complete as he becomes one with the tribe, sharing their joys and struggles.
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The director made extensive use of rich details during this process. These seemingly mundane scenes never felt lengthy; instead, viewers often found themselves smiling at the awkward yet heartwarming interactions that transpired due to language barriers.
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However, Dunbar's past catches up with him when the U.S. Army discovers his presence. Viewing him as a deserter and traitor, they capture and brutalize him. The Sioux rescue him, but the tribe's safety is now in jeopardy. Realizing he has become a threat to their survival, Dunbar makes the heartbreaking decision to leave.
The film closes with Dunbar and Stands With A Fist departing into an uncertain future, while the Lakota mourn the loss of their friend. A poignant exploration of cultural understanding and the tragedy of westward expansion, Dances With Wolves ends with a bittersweet, haunting sense of loss.
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All great films share a common trait: they compel the viewer to watch until the very end, even if they last four hours. Mediocre films, even at only ninety minutes, often provoke the impulse to leave early.
Dances with Wolves had a pure and refreshing style. The straightforward cinematography was enriched with detailed, emotionally resonant moments, seamlessly pulling viewers in.
In both the present and the impending internet age, the Oscars were heavily influenced by critics. If a film lauded by critics didn't receive even a nomination, the credibility of the Oscars would surely be questioned. Thus, the Oscars often relied on the reception from critics as an important basis before the voting process.
As a result, any film aiming for the Oscars needed to prioritize engaging with critics.
After the screening, nearly all the invited critics expressed high praise for the film. Once they departed, the executives from Fox's distribution department convened for a brief meeting, during which Carlin Hunt began consulting with Eric about the distribution specifics for Dances with Wolves.
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"Eric, although the critics' responses were very positive, the lengthy runtime is a significant drawback. Many theaters are reluctant to screen such a lengthy film. So we've come up with two main strategies: one is to release it during next year's Easter, which would allow Fox to secure 1,500 screens. If box office trends are favorable, we could increase that number. However, this wouldn't align with an Oscar campaign strategy, although it could maximize box office potential," Carlin Hunt explained.
Eric was aware that this film won Best Picture and Best Director, but he really had no idea about its box office performance. The Oscars had yet to trend toward niche films, after all. Looking back at the Best Picture winners of recent years -- films like Driving Miss Daisy, Rain Man, and Platoon -- had achieved impressive box office returns in North America.
Thus, utilizing a typical Oscar strategy for Dances with Wolves seemed undoubtedly prudent. At the very least, after winning Best Picture, it could still profit considerably through home media sales. However, releasing it at Easter would mean more screens initially, but when Oscar campaigning began at the end of the year, unless Dances with Wolves maintained strong critical acclaim, its influence and promotional momentum could not possibly compete with films released during that period. Even if it ended up being nominated for Oscars, the film might miss out on the box office boost that often followed.
Therefore, Eric shook his head decisively and said, "Let's go with the second option."
"The second option is to follow the Oscar strategy, releasing it at the end of next year. However, that would require you to push your investment back another year. I heard Liz secured this film for $30 million..."
Carlin Hunt started to say, then remembered Eric's financial situation, chuckling to himself and shaking his head. "Okay, you obviously aren't concerned about that money. So let's proceed with the second option and plan for a year-end release. However, we can't adopt the Orion Pictures' original release strategy, which is to premiere it on November 9. That feels far too reckless. Orion has always had a chaotic distribution approach.
Considering Orion's current predicament, one can understand. They've been losing money for years, so they wouldn't want to miss any profit opportunities. But attempting to hit the Oscars while not wanting to forfeit two months of holiday box office is too greedy. They seem to forget how fierce the holiday competition is. If the movie can't even hold up through those two months, how would they enjoy the post-award box office bumps?"
*****
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