THE LAST OF THE MOHICANS
A film review by Frank Maloney
Copyright 1992 Frank Maloney
THE LAST OF THE MOHICANS is a film directed by Michael Mann, from a script by Mann and Christopher Crowe. It stars Daniel Day-Lewis, Madeleine Stowe, West Studi, Russell Means, Eric Schwieg, Jodhi May, Maurice Roeves, and Steven Waddington. Rated R for graphic violence.
THE LAST OF THE MOHICANS has proved to be popular story ever since James Fenimore Cooper published the original novel in 1826, part of his series "The Leatherstocking Tales." It has been adapted as a movie at least three times: 1920 version by Maurice Tourneur, one of the great silent movies; the 1936 version with Randolph Scott; the 1977 version for TV with Steve Forrest. In addition, there is the loose adaptation, THE LAST OF THE REDMEN, 1947, from Columbia. There was also a serial made in 1932 in twelve chapters of thirteen minutes each and a TV series that I never watched. It is my personal opinion that Cooper's novel is unreadable today and mercifully it's been a couple of generations since school children were required to slog through its overwrought prose and romantic generalizations.
This is retelling of the story of the white man adopted adopted by age 2 or 3 by the Mohican Chingachgook and raised with his foster-brother Uncas (the name of a prominent Mohican leader of the previous century, by the way). His involvement with a local but bloody skirmish in the French and Indian War, an 1757 siege of a British fortress, and his involvement with the commander's elder daughter has a lot of bodice-ripper potential, and the Michael Mann and Christopher Crowe script gives the otherwise masterful Hawkeye, aka Nathaniel, some pretty turgid lines. The only really important fault of the entire movie, indeed, is its inability to develop Hawkeye beyond a macho stereotype, the invincible, completely manly, mostly laconic man of action, who values life and independence above all else. This script is based not on the novel, it seems, but rather on Philip Dunne's script for the 1936 version. Aside from the problems surrounding fleshing out of Nathaniel's character, this newest script improves hugely on Cooper's romanticized, simplistic paean to the noble savage. The result is impressive historical detail, exciting action sequences, and just enough romance to fill in the slow parts.
Much of the power of the film comes through its design and photography. The designer Wolf Krueger provides us with awesome authenticity, while the cinematography of Dante Spinotti (and Kubrick veteran Doug Milsome who was replaced half through production) exploit the beauty of the North Carolina mountains and forests, as well giving us a vivid impression of the horrors of 18th Century warfare in the wilderness.
Despite a lack of emotional impact, Daniel Day-Lewis, the chameleonic star of MY BEAUTIFUL LAUNDRETTE, THE UNBEARABLE LIGHTNESS OF BEING, and MY LEFT FOOT, enlightens his undeveloped part with ample charisma and intensity that includes his physical preparation for the role, which by all reports was detailed and technical -- learning to reloading a musket on the run, to trap and skin, etc.
As Hawkeye's love interest, Cora Munro is done great justice by Madeleine Stowe (UNLAWFUL ENTRY). Stowe infuses her role with a spiritual and sexual strength as well as with great intelligence that makes Cora the perfect mate for the free-living Hawkeye.
These are supported by very accomplished cast. Jodhi May plays Cora's sister sliding into total collapse under the presure of the war and its horrific aftermath. Maurice Roeves is the girls' father, the commanding officer of Fort William Henry; he is brave, but plays too much by a book written for another continent. Steven Waddington plays the corrupted officer who is wooing Cora. Russell Means (the American Indian activist, whose presence lends the movie credence more or less by default) plays Chingachgook and Eric Schweig Uncas; these are strong but silent Mohicans, but the two actors project exactly the right strength, love and mutual support to make them human beings.
But most impressive of the supporting players is Wes Studi, the Cherokee actor who plays the villain Magua. Studi comes very close to stealing the movie from some powerful star power through his near perfect personification of evil, yet even his twistedness has one moment of near tenderness; Magua's evil is not entirely without cause or reason, making it all the more compelling.
This version of MOHICANS departs widely from the original Cooper novel, in which there is no romance between Hawkeye and Cora, and in which Hawkeye is a good deal more cantakerous and rough-edged. He becomes a dreamy male sex symbol, which is fine with me, at least. Michael Mann has remade MOHICANS into a lush, lavish production of quickly moving scenes of natural beauty (I was particularly taken with the "key-hole" bridge shot), exciting, bloody hand-to-hand battles, thrilling spectacle (especially the night bombardment of Fort William Henry), breathless, heart-bounding wilderness chases, treachery and self-sacrifice, and just enough romance.
I can recommend THE LAST OF THE MOHICANS to you, even at full price.
-- Frank Richard Aloysius Jude Maloney
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