The Indian Wars Refought | |
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Directed by | Theodore Wharton |
Screenplay by | Charles King |
Starring | William F. Cody Nelson Appleton Miles Charles King |
Cinematography | D. T. Hargan |
Production companies | Buffalo Bill Historical Picture Company Essanay Film Mfg. Co. |
Distributed by | State Rights |
Release date |
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Running time | 5 reels |
Country | United States |
Languages | Silent English intertitles |
The Indian Wars Refought is a 1914 American silent Western film that depicts several historical battles of The Indian Wars. The film was directed by Theodore Wharton and stars William F. Cody, Nelson Appleton Miles and Charles King, all of whom participated in the actual battles depicted in the movie. The feature was produced by the Buffalo Bill Historical Picture Company and Essanay Film Mfg. Company. The film was released in August 1914, but according to modern sources, it only played in Denver and New York City because of pressure from the government, which disapproved of its content because it showed the Indians in a somewhat favorable light. [1] [2] It is now considered a lost film. [3]
According to news sources from 1917, the original film was titled Wars of Civilization, but other alternate titles for the feature include: The Last Indian Battles, From the Warpath to the Peace Pipe, The Wars for Civilization in America, Buffalo Bill's Indian Wars and Indian War Pictures. [1]
The film recreates four battles – the Battle of Summit Springs, the Battle of Warbonnet Creek, the Battle of the Mission and the Battle of Wounded Knee – which were fought by the United States Cavalry and various tribes of the Sioux Indians. The movie also features re-enactments of the Campaign of the Ghost Dance or Messiah Craze War, and the capture of Chief Big Foot. The feature also depicted Indian war dances, burning of camps and tepees, horse rustling and scalping. The end of the picture included scenes of Indian children attending modern schools and Indian farmers bringing in their crops. [1]
William F. Cody (Buffalo Bill) approached Secretary of War Lindley M. Garrison and Secretary of the Interior Franklin K. Lane about making this film. Garrison supplied Cody with the necessary troops from the 12th U. S. Cavalry and Lane authorized the participation of over 1,000 Sioux Indians. Lieutenant General Nelson Appleton Miles was hired as a technical consultant to make sure that the re-enactments were as accurate as possible, and was a cast member as well. Colonel H. G. Sickles and Charles King recreated their parts in the original battles of Wounded Knee and Warbonnet Creek, respectively. The film was shot at the sites of the original battles between September 1913 and November 1913 in the Bad Lands of South Dakota and the Black Hills of Wyoming. On February 27, 1914, the film was screened for Secretary Lane and other members of Woodrow Wilson's cabinet. After Cody's death in 1917, footage from the film was used in The Adventures of Buffalo Bill, a tribute to the late Cody. [1]
William Frederick Cody, known as Buffalo Bill, was an American soldier, bison hunter, and showman.
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The Wounded Knee Massacre, also known as the Battle of Wounded Knee, was the deadliest mass shooting in American history, involving nearly three hundred Lakota people shot and killed by soldiers of the United States Army. The massacre, part of what the U.S. military called the Pine Ridge Campaign, occurred on December 29, 1890, near Wounded Knee Creek on the Lakota Pine Ridge Indian Reservation in South Dakota, following a botched attempt to disarm the Lakota camp. The previous day, a detachment of the U.S. 7th Cavalry Regiment commanded by Major Samuel M. Whitside approached Spotted Elk's band of Miniconjou Lakota and 38 Hunkpapa Lakota near Porcupine Butte and escorted them five miles westward to Wounded Knee Creek, where they made camp. The remainder of the 7th Cavalry Regiment, led by Colonel James W. Forsyth, arrived and surrounded the encampment. The regiment was supported by a battery of four Hotchkiss mountain guns. The Army was catering to the anxiety of settlers who called the conflict the Messiah War and were worried the Ghost Dance signified a potentially dangerous Sioux resurgence. Historian Jeffrey Ostler wrote in 2004, "Wounded Knee was not made up of a series of discrete unconnected events. Instead, from the disarming to the burial of the dead, it consisted of a series of acts held together by an underlying logic of racist domination."
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