From: frankm@microsoft.com (Frank R.A.J. Maloney)
Newsgroups: rec.arts.movies.reviews
Subject: REVIEW: THE LAST OF THE MOHICANS
Summary: r.a.m.r. #01579
Keywords: author=Maloney
Date: 6 Nov 92 16:32:15 GMT
Article-I.D.: cbnewsj.1992Nov6.163215.15421
Reply-To: frankm@microsoft.com (Frank R.A.J. Maloney)
Followup-To: rec.arts.movies
Organization: Microsoft Corp., Redmond WA


			   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
Newsgroups: rec.arts.movies.reviews