The Sons Of Great Bear full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In 1874, the U.S. government encroaches on the lands of the Lakota people. Mattotaupa, an Oglala Lakota man, gambles with Red Fox, a White criminal, in a saloon. When seeing he has gold, Red Fox demands to know its origin. Mattotaupa refuses, and Red Fox murders him. Mattotaupa's son, the young and fierce warrior Tokei-ihto who mistrusts the Whites and never drinks their "Firewater", witnesses the murder.

Two years later, Tokei-ihto is the war chieftain of the Oglala's Bear Band and one of Crazy Horse's commanders in the Great Sioux War. He raids a resupply column sent to a U.S. Army fort, but brings the commander's daughter Katie Smith to her father unharmed, requesting to negotiate peace. Major Smith turns him down, and one of his officers tries to shoot the chieftain, who then surprises the soldiers and single-handedly destroys their munitions depot.

The warriors return to their camp victorious. Red Fox arrives, offering a peace treaty. Tokei-ihto is sent to negotiate. Smith demands they settle in a reservation. When Tokei-ihto rejects the offer, he is imprisoned. The Bear Band are brutally forced to resettle.

After several months, the war has ended. Red Fox enters Tokei-ihto's cell, trying to force him to reveal the location of the gold mine. Katie Smith and her friend Adams stop him before he begins to torture the captive. They recommend that after being released, he should take his people to Canada. The chieftain accepts the government's terms and returns to the reservation.

Tokei-ihto ventures to the sacred caves of the Great She-Bear, the Band's Totem animal, which are also the gold's source, to seek the blessing of the spirits to their departure. Red Fox's henchman Pitt goes after him, hoping to find gold. He stumbles upon a she-bear which kills him, though not before he fatally wounds her with a gunshot. Tokei-ihto finds the she-bear's cub. He takes it back to the tribe.

The Bear Band leave. They raid an army column, and General George Crook offers a $200 reward on the chieftain's head. Red Fox, still seeking the gold, sets after them with a large group of ruffians. They gain on the Lakota as they cross the Missouri River. Red Fox agrees to let the people move on undisturbed if Tokei-ihto would remain behind. The chieftain agrees. After a prolonged fight, he manages to kill Red Fox. The band settle on the other bank, finding refuge.

Background

The Western genre had never enjoyed the approval of the political establishment in the German Democratic Republic: the novels of Karl May, the most prominent German-language author associated with the topic, were not allowed to be re-published in the country until 1982. The Socialist Unity Party of Germany, the ruling power in East Germany, viewed May as a writer whose supposedly positive portrayal of the colonization of the Old West by the United States ignored the uprooting and genocide of Native Americans while glorifying the White settlers, making him a promoter and a precursor of an expansionist ideology of "blood and soil" and  – in the words of Klaus Mann  – the "Cowboy mentor of the Führer".

East Germany had its own writers who dealt with the subject, though. The Munich-born Liselotte Welskopf-Henrich composed a first draft of a novel set in the land of the Sioux in 1918, when she was 17 years old. After the end of the Second World War, Henrich joined the Communist Party of Germany and settled in East Berlin, where she held a tenure as a Classics professor in the Humboldt University of Berlin. She finished her book only in 1951. In the following year, it was published under the title The Sons of Great Bear, gaining wide success among children and youth. It became the basis for an eponymous hexalogy of novels about the adventures of Harka, an Oglala Lakota who would eventually be given the name Tokei-ihto. Henrich's books were written from the Native American perspective, and she studied Lakota culture extensively to convey an authentic depiction of them, and even conducted several tours to the United States and Canada to live among their tribes. Until 1996, her books were translated to 18 languages and sold 7.5 million copies worldwide.

Inception

The attitude of the DEFA studio – the country's state-owned cinema monopoly  – to Westerns changed in the early 1960s, with the release of a wave of Karl May films produced in West Germany, especially the series directed by Harald Reinl which began with Apache Gold in 1963. While not distributed in the GDR, East German tourists could view them when vacationing in the neighboring Czechoslovakia. The extensive popularity of those pictures convinced DEFA officials to make their own version. Producer Hans Mahlich – one of the veteran members of the studio who participated in the making of some of DEFA's most widely known pictures, like Castles and Cottages and The Sailor's Song – was the first to promote the idea, arguing that such films would become a great commercial success. While seeking to exploit the popularity of the subject, the studio directors had to consider the ideological demands of the establishment, which would have viewed a typical Western as a reactionary and a "bourgeoisie" form of art – indeed, Der Spiegel reported that several years earlier, an attempt to turn Henrich's novels into a film was "vetoed by the party, which negatively deemed the Westerns as a capitalistic influence that would encourage criminality." Therefore, they sought to imbue the planned picture with themes which would suit state officials and turn it into "politically correct entertainment": Henrich's novels, with their emphasis on the negative portrayal of the white colonists and their already established popularity with the audience, were selected to be adapted to the screen. Studio dramaturgue Günter Karl wrote: "We knew we had to set ourselves apart from the capitalist movies of the genre... But we were nevertheless forced to use at least part of the elements that make this genre so effective." Lieselotte Welskopf-Henrich told an interviewer that "in their themes, the West German Karl May films lag far behind good American pictures in which the Native American and his right to self-defense were already recognized. We attempted to make a new sort of an 'Indian film'."

Development

While the studio accepted the idea of making a Western, most of its filmmakers regarded it with skepticism, and did not believe it would garner success. When Mahlich sought a director for his upcoming production, no East German agreed to participate, as none was ready to risk his reputation. He had to enlist the Czechoslovak director Josef Mach, and his fellow countryman Jaroslav Tuzar as cinematographer. In a trait that would characterize all of DEFA's Westerns, while The Sons of Great Bear was an East German work, the production team was multinational, with citizens of several other Eastern Bloc countries. In early 1965, Mahlich traveled to the Socialist Federal Republic of Yugoslavia in order to arrange filming locations and to seek actors. Shortly before leaving back to the GDR, he stumbled upon a film publicity photograph which featured Gojko Miti?. Miti?, a student of the Sport and Physical Education Faculty in the University of Belgrade, worked as a stuntman and an extra in several Westerns produced in his country, beginning with the 1963 Old Shatterhand. He was finally given a minor role of his own in Among Vultures. Mahlich immediately resolved to have him star in the role of Tokei-ihto. As Miti? did not master German, he was dubbed by Karl Sturm. GDR-based Czechoslovak actor Ji?í Vrš?ala, who was mainly known as children's star Clown Ferdinand, was given the role of chief villain Red Fox. The young Henry Hübchen depicted a Lakota man in one of his earliest appearances on screen. Tokei-ihto's sister Uinonah was depicted by New York-born Kati Székely, whose father, Hungarian screenwriter János 'Hans' Székely – who won the Academy Award for Best Story in 1940 for co-writing the script of Arise, My Love  – left the United States during the McCarthy era. A central feature of the production was the striving for authenticity and the resolve to reverse the genre conventions by stressing the Native American perspective: The film "shifted the focus to natives solely as victims and Americans as perpetrators". Theodore C. Van Alst, who studied the depiction of Native Americans in European film, noted that as it was made "many miles from the Great Plains... Many years after the events" The Sons of Great Bear "was bound to contain some inaccuracies, but they aren't from a lack of effort". However, while carefully recreating the lives of the Lakota, there are several mistakes in regards to the other side: for example, Major Samuel Smith clearly wears the rank of a colonel; a regimental flag in his headquarters carries the inscription "United States of Amerika", and a map shows the U.S.-Mexican Border as it was before the Treaty of Guadalupe Hidalgo, with Mexico stretching all the way to Oregon. Henrich, who served as the producers' adviser, was "fanatic about details": when several horses refused to be mounted without a saddle and had to be fitted with one, she resigned her post, insisting that Native Americans rode bareback. The author later demanded that her name be removed from the credits, though it remained there. She refused to allow any more of her books to be adapted for the screen after The Sons of Great Bear, insisting "too many liberties were taken".

Principal photography for The Sons of Great Bear was conducted in summer 1965, and took place in the Socialist Republic of Montenegro and in the Elbe Sandstone Mountains. It took about two and half months, and the sum expended on making the picture was "over 2 million East German Marks".

Distribution

The Sons of Great Bear turned into an instant success upon its release, owing also to two external factors: the first was its appeal to young audiences, as many East German children were already acquainted with Henrich's books; and another was the low supply of new pictures for 1966: over half of DEFA's productions intended to be released during the year  – 12 out of 21, most prominently Kurt Maetzig's The Rabbit Is Me and Frank