The Last of the Mohicans


Action / Adventure / Drama / Romance / War


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March 24, 2012 at 05:42 AM



Daniel Day-Lewis as Hawkeye
Madeleine Stowe as Cora Munro
Jared Harris as British Lieutenant
Dylan Baker as Capt. De Bougainville
720p 1080p
649.99 MB
23.976 fps
1hr 52 min
P/S 10 / 61
1.40 GB
23.976 fps
1hr 52 min
P/S 7 / 106

Movie Reviews

Reviewed by jckruize 10 / 10

Will make you forget that wimpy TV Hawkeye.

Policier specialist Michael Mann steps way off his usual beaten path with this adaptation of that hoary old James Fenimore Cooper tale of frontiersmen, Indians, Redcoats and the French -- the latter back when they knew how to fight.

Chameleonic actor Daniel Day Lewis is totally convincing as Hawkeye, tracker, warrior, and adopted white son of Chingagchook, last of the Mohicans tribe. Along with adoptive brother, Uncas, the three are swept into the French and Indian war of 1757, treading lightly between the antagonists: French and Hurons on one side, British and colonials on the other, each faction potentially treacherous and deadly.

Mann doesn't waste time on exposition or character development; he just hurls us into the fast-paced, brutal action and the effect is like snagging the tail of a galloping racehorse and trying to hang on to the finish line. Madeline Stowe and Jodhi May, as sisters of the British major Munro, provide love interest for Hawkeye and Uncas, respectively. Steven Waddington is another Redcoat officer infatuated with Stowe, and he too shines as a 'bad guy' who's more complex than he at first seems. But the movie's almost stolen by Wes Studi as Magua, a Huron warrior who's allied himself with the French solely as a means to avenge himself on the white man. He's as mesmerizing and lethal as a cobra.

Technical qualities are exemplary, with special mention to the magnificent scenery of old-growth forestlands and mountains in North Carolina, and a superb score by Trevor Jones, with an assist by Randy Edelman.

Mann might not be the first guy you'd think of to stage an 18th-century period action/adventure/romance. But after seeing what he does here, no one can fail to be impressed by his range and bravura. This is a must-own.

Reviewed by pete-246 10 / 10

Overlooked masterpiece bucked trends of the time

It used to baffle me why this film hasn't been held in greater esteem. I was blown away by this film when I first saw it, and knew quite a few people who snuck back to the theater several times for more. The beautiful and harsh scenery, dreamlike photography, sudden explosions of bloody violence, and raging, over-the-top passion amid a collapsing world create a pure emotional rush. This is melodrama at its best, which means that it can really stir your emotions if you let it.

After reading a recent review of Ron Howard's "The Missing" by Steve Sailer (Washington Times) I think I know why "Last of the Mohicans" was overlooked. No matter how good this film was, it bucked the dominant trend in pop-culture perceptions of Native Americans at the time - a trend, according to Sailer, that might be reversing. Here's a historical breakdown of trends in similar films:

1. 1950-1970 - Native Americans are one-dimensional, easily killed, comic-book villians. No religious elements appear. There are only a few exceptions to this rule (e.g. John Ford's "The Searchers").

2. 1970s - Native American violence becomes brutal and real - but we also get rising sensitivity to Native Anericans without much sappy-ness. To quote Sailer:

"'The Missing' resembles 'Ulzana's Raid,' the 1972 Burt Lancaster film that was one of several brutal but realistic films (such as 1970's 'A Man Called Horse') made during a brief period of balance in the depiction of Native Americans, falling between the earlier era's anti-Indian prejudice and the present day's happy-clappy New Age nonsense."

In other words, if "Last of the Mohicans" had been released in 1970 it might have been hailed as "progressive."

3. 1980s and 1990s - Religious/spiritual interpretations of Native Americans become dominant but are just as comic-book as the old 1950s violence. Native Americans are cute New Age "Dances With Wolves" icons that sit around and act wise. "Native American" becames an always-good point of reference in the Culture Wars. Classic example from South Park: an old hippie screams in front of a new Starbuck's

" many Native Americans did you slaughter to make that coffee shop?"

Michael Mann's "The Last of the Mohicans" (1992) clearly ran counter to the 1990s trend - it was trashed by critics at the time but I've always felt it was a much better film than it is given credit for, even a classic. But it bucks the New Age image of Native Americans so popular in 1992. For example, the old chief at the end uses his spiritual authority to make a brutal, violent decision for death so that justice is served. The Native American father Chingagchook kills the revenge and power-mad Magua without pity. And as for Magua's own behavior...nobody on either side is asking "...can't we all just get along?"

In other words, Mann picked the exact wrong time to make this film. In the 1970s it might have been properly recognized, but by 1992 it was out of step with the touchy-feely image of Native Americans. Coupled with its obvious melodrama and action-film hype, the film became too much of a "guilty pleasure" to win praise (but don't let that stop you now).

Movies are changing again, and that might be a good reason to go out and rent "Last of the Mohicans." According to Sailer, "the dark side of Native American spiritualism" is now being seen in "Missing". Like "Mohicans", Howard's new film loses the New Age stuff for a dreamlike action/horror state. The scenes below have their obvious parallels in "Mohicans":

Blanchett finds her boyfriend's charred corpse strung up over a campfire where the Indians slowly roasted him to death. Later, when a photographer snaps the Apache leader's picture, the shaman gets his soul back by tearing out the man's heart.

The other problem with "Mohicans" was that it is too "manly." There's a very strong female lead, but the men are also real, lusty, nasty men. By including this brand of passion, "Mohicans" conflicted directly with the "girl power" pop culture trend of the mid-1990s. Admitting you liked the film made you anti-woman as well as anti Native American.

In this light, consider Sailer's comments on "Missing" - they apply equally to "Mohicans:"

"Still, I have to admire Howard for ignoring the bogus and condescending fantasies about American Indian culture rampant in our society today. Native Americans have suffered enough without having the memory of their warriors emasculated by self-absorbed eco-feminists into sappy symbols. Geronimo was a cruel man, but he was every inch a man."

We may be on the edge of a revival of films which are capable of mixing Native Americans, violence, and romance in a good way. If so, the underappreciated "Last of the Mohicans" is a place to start.

Reviewed by dee.reid 10 / 10

Fierce, bold, and beautiful - "The Last of the Mohicans"

"The Last of the Mohicans" was one of the most popular and acclaimed films of 1992. Its vision of early America, as it was during the French and Indian War, is captured in its utter brutality and beauty, complete with the many driving ambitions and clashing cultures of everyone involved.

This movie has a bit of everything, including action, romance, war, and passionate drama. The director, Michael Mann, knows the story well and does all but completely discard James Fenimore Cooper's source material, which some have dubbed as being racist and totally unfair in its portrait of Native Americans.

The story (and what a story) is all over the place, with three frontier scouts - Hawkeye (Daniel Day-Lewis), Chingachgook (Russell Means), and Uncas (Eric Schweig) - escorting a British colonel's daughters - Cora and Alice Munro (Madeleine Stowe and Jodhi May respectively) - to safety at the besieged Fort William Henry. Major Duncan Heyward (Steven Waddington) rivals Hawkeye for Cora's affections and a vengeance-driven Huron named Magua (Wes Studi) seeks to have both daughters killed in retribution for the loss of his own children.

This is by far Mann's best film yet (it ranks #15 on my all-time favorite movies list) and he uses the lush wilderness settings to great effect. He also makes good use of the editing, which actually comes in handy when showcasing the brutal violence that dominates much of the film's action sequences. The film's last 20 minutes are a definite stunner that can only be described as classic and vicious.

This is a great movie that shows America in its infancy, complete with the rivalries, intrigue, and violence that I'm sure was an everyday part of life during this hectic time period.


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