Dances with Wolves (John Barry)
(1990)
Kevin Costner’s directorial debut, Dances with Wolves was one of the most successful films of 1990. Costner was one of Hollywood’s rising stars, having starred in such successful films as The Untouchables and Field of Dreams. He directed, produced, and starred in the film, earning Oscar nominations for all three roles and winning the former two. The film was a huge success both critically and financially, except of course with critic Pauline Kael, who dismissed the film as a “nature boy movie” and mocked Costner as having “feathers in his hair and feathers in his head”. Despite the success it had, the fact that it beat out Martin Scorsese’s Goodfellas for the Best Picture and Director prizes at the Academy Awards is generally considered one of the biggest upsets in Academy history. Regardless however, the film revived the western genre, and it certainly deserves credit for that.
Legendary composer John Barry had suffered a series of illnesses during the recent years prior to scoring this film. At the time, having recovered from a ruptured oesophagus, Barry reportedly read the script and “liked it very much”, and returned to write what was probably the best score of his illustrious career, earning him a well deserved fifth Academy Award. He dedicated the score, and the award, to the three doctors who saved his life.
The score has had three releases to date, the best of which is undoubtedly the most recent 2004 release. The main, and most recognizable theme from the score is the one for John Dunbar, heard on its own as a simple, yet powerful string renditions. However, Barry puts it through a few several glorious arrangements during the score.
Many of Barry’s other scores are centered around one theme, which led to considerable criticism by many. Dances with Wolves is a real slap in the face to any such people – Barry created nearly a dozen beautiful themes for Dances with Wolves, all of which are put through some equally beautiful variations. Barry chose not to research authentic Sioux music but instead took a strictly symphonic approach to the score, writing it from Dunbar’s point of view.
The best cue from the score is undoubtedly “Journey to Fort Sedgewick”, which features some beautiful, moving string performances combined with heroic horns and brass masterfully complimenting the brilliant scenery of the American west. Although much of the music from the score was featured in previous releases, one of the main definite highlights of the 2004 release is the inclusion of the cue “The Buffalo Hunt” as it was actually played in the film, rather than the good, but rather inferior rearrangement that had been included on the previous two albums. It accompanies one of the best scenes in the film, and is simply glorious. This album also includes several other cues that were previously unreleased, but that cue is the main highlight for me. Aside from that, the other main highlight of the score are the love themes, performed by delicate woodwinds in the cues “Falling in Love” and “Love Theme”.
Aside from being my choice for the best score that John Barry ever wrote (and he wrote several masterpieces), this score ranks among The Magnificent Seven, The Big Country, and How The West Was Won as one of the best scores ever written for the western genre, and one of the best scores of all time. A genuine masterpiece, pure and simple.
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Track Listing
1 – Main Title / Looks Like a Suicide
2 – Ride To Fort Hayes
3 – Journey to Fort Sedgewick
4 – The John Dunbar Theme
5 – The Death of Timmons
6 – Two Socks / The Wolf Theme
7 – Stands with a Fist Remembers
8 – The Buffalo Robe
9 – Journey to the Buffalo Killing Ground
10 – Spotting the Herd
11 – The Buffalo Hunt (Film Version)
12 – Fire Dance
13 – Two Socks at Play
14 – Falling in Love
15 – Love Theme
16 – The John Dunbar Theme
17 – Pawnees / Pawnee Attack / Stone Calf Dies
18 – Victory
19 – The Death of Cisco
20 – Rescue of Dances with Wolves
21 – The Loss of the Journal / The Return to Winter Camp
22 – Farewell / End Title
23 – The Buffalo Hunt (Album Version)
24 – The John Dunbar Theme (Film Version)
Credits
Composed, Conducted, and Produced by John Barry
Orchestrated by Greig McRitchie & Mark McKenzie
Awards
Academy Award (Won)
Grammy Award (Won)
Golden Globe (nominated)
BAFTA (nominated)
Insert Notes
Contains extensive notes about the score.
All images and artwork are Copyright Sony Music Entertainment Inc.
