‘Son of Morning Star’ Ambushes Custer’s Reckless Image

Romance dies hard.

Thus, even as the George Armstrong Custer of ABC’s two-part “Son of the Morning Star” is a morally depraved leader who foolishly gets himself and his men killed in pursuit of personal glory at the expense of American Indians, some of his gold-maned magic lingers.

Airing at 9 p.m. Sunday and Monday on Channels 7, 3, 10 and 42, “Son of the Morning Star” draws a bottom line concerning the fabled Custer that is harsh and unflattering, yet even in doing so allows that line to waver.

For despite being cruel, vain, impetuous, foolhardy and maniacally driven, Gary Cole’s Custer is also a dashing, charismatic and courageous hunk of a guy who is adored by his wife, Libbie (Rosanna Arquette), and most of his men.

Although the historical record indicates that this slaughterer of American Indians may have had virtually no redeeming qualities, one can envision many viewers watching ABC’s dynamic production with a familiar saw in mind: He was an s.o.b., but he was our s.o.b.

“Son of the Morning Star” is based on Evan S. Connell’s book of the same name. As a Western adventure with haunting historical overtones, much of this is first-class, grandly staged filmmaking. Unlike Custer’s character, it gets better and better, with director Mike Robe swelling the suspense in Part 2 as Custer, seemingly seduced by mystical forces he doesn’t understand, presses forward toward his doom.

Robe is especially adept at conveying the chaos and carnage of battle (even though it appears horses are abused in the process), and his efforts to capture the sweep of the Indian wars on the plains where they were fought is limited only by the absence of a big screen. “Dances With Wolves” would have fared no better on TV.

Melissa Mathison’s script opens immediately after Custer’s “last stand” on June 25, 1876, and then traces the roots of the annihilation--and the callous U.S. usurpation of American Indian lands--in part through the voice-over narratives of Libbie and a Cheyenne woman named Kate Bighead (the voice of Buffy Sainte-Marie).

These clashing perspectives--Libbie sees Custer’s attacks on Indian villages as great victories, Kate Bighead as the murder of women and children--give the story a nubby texture. So, too, does the depiction of Custer and the young Sioux Crazy Horse (Rodney A. Grant, who played Wind in his Hair in “Dances With Wolves”) as hotbloods simultaneously rising to leadership on opposite sides.

A minor confusion over Custer’s actual military rank is not cleared up here. More importantly, those seeking insights into Custer’s character should look elsewhere. Although Cole is an arresting actor, “Son of the Morning Star” delivers an essentially one-dimensional Custer who is spoiling for the big battle that will advance his career and ends up sacrificing himself and his troops to that aim. End of analysis. Although there are hints of complexities beneath Custer’s dark exterior, they’re not shared.

What does come through, ultimately--as a sort of golden beam shining through the savagery--is that Custer aura. You’re given the impression at the end of these 4 hours--sentimental music, please!--that there was something tragic about Custer’s death, when in fact he was killed by American Indians only before he could slaughter them.