31 reviews
I just saw "Last of the Mohicans." I didn't expect much. I had seen other adaptations: the 1936 George B. Seitz movie and the Michael Mann remake of 1992. To me they all seem to lack the spirit of what is admittedly a rambling novel whose provocative subject matter is only partially realized. Cooper's problem was execution; he didn't understand how severely his story was compromised by unnecessary characters, needless plot devices, and ceaseless talk. Latter day film-makers steered around Cooper's problem by ignoring him and creating a story of their own, but in doing so they lost what was fine in his work.
Director Maurice Tourneur does not ignore Cooper, although he does cut through the crap. In a non-talking film the characters can't yap on the way they do in Cooper's fiction. Hawkeye's role is reduced. He has few scenes and is not the romantic lead Randolph Scott and Daniel Day Lewis would be in later adaptations. He is the homely, awkward, asexual woodsman Cooper describes. Tourneur chooses, rather, to focus directly on the tragic romance at the novel's core, between British colonial Cora Munro and Mohican hunk Uncas. He thereby rescues the film from becoming another "Birth of a Nation" with Wallace Beery's Magua standing in for Griffith's black-faced white men who try to rape white women.
Tourneur's technique is impressive. Camera perspective, lighting, and editing are well in advance of what was being done in 1920. The action on the Eastman print I saw seems a little fast. I'm not sure if it runs at the correct projection speed. Tourneur obviously under-cranked his camera during action sequences to give actors and extras the appearance of furious motion. These are only small criticisms, however.
As in all his films Tourneur reined in the actors' exaggerated facial expressions and theatrical gestures, which is perhaps why there are so many title cards explaining the actors' motivations. Barbara Bedford is restrained and natural as Cora, some might argue too restrained to be the passionate, dark-haired heroine of Cooper's novel. But Tourneur lets Bedford's quiet beauty act as a veneer masking a volatile nature. Her defiance of social and feminine conventions – showing attraction for a Native warrior, and impulsively sacrificing herself to protect her sister in the Indian town – affects us all the more because of her stillness. In Garbo such stillness was praised as mystique. So perhaps it is no coincidence that Tourneur's protégé Clarence Brown, who finished this film when Tourneur was injured, guided Garbo's early career beginning with "Flesh and the Devil" in 1926.
Director Maurice Tourneur does not ignore Cooper, although he does cut through the crap. In a non-talking film the characters can't yap on the way they do in Cooper's fiction. Hawkeye's role is reduced. He has few scenes and is not the romantic lead Randolph Scott and Daniel Day Lewis would be in later adaptations. He is the homely, awkward, asexual woodsman Cooper describes. Tourneur chooses, rather, to focus directly on the tragic romance at the novel's core, between British colonial Cora Munro and Mohican hunk Uncas. He thereby rescues the film from becoming another "Birth of a Nation" with Wallace Beery's Magua standing in for Griffith's black-faced white men who try to rape white women.
Tourneur's technique is impressive. Camera perspective, lighting, and editing are well in advance of what was being done in 1920. The action on the Eastman print I saw seems a little fast. I'm not sure if it runs at the correct projection speed. Tourneur obviously under-cranked his camera during action sequences to give actors and extras the appearance of furious motion. These are only small criticisms, however.
As in all his films Tourneur reined in the actors' exaggerated facial expressions and theatrical gestures, which is perhaps why there are so many title cards explaining the actors' motivations. Barbara Bedford is restrained and natural as Cora, some might argue too restrained to be the passionate, dark-haired heroine of Cooper's novel. But Tourneur lets Bedford's quiet beauty act as a veneer masking a volatile nature. Her defiance of social and feminine conventions – showing attraction for a Native warrior, and impulsively sacrificing herself to protect her sister in the Indian town – affects us all the more because of her stillness. In Garbo such stillness was praised as mystique. So perhaps it is no coincidence that Tourneur's protégé Clarence Brown, who finished this film when Tourneur was injured, guided Garbo's early career beginning with "Flesh and the Devil" in 1926.
- mhesselius
- Jul 23, 2010
- Permalink
- dbborroughs
- Feb 24, 2008
- Permalink
This is a fine movie adaptation of the classic story of "The Last of the Mohicans", for its time certainly, but in many respects it has held up at least as well as just about any other screen version of the story. The scenario emphasizes the gist of the story, develops most of the main characters efficiently, and at the right times creates a good sense of danger and suspense.
The story is by and large the one familiar from the novel, set in the Seven Years War (which in the USA is often called the 'French and Indian War'), with the British and French relying heavily on their allies among the various native tribes of North America. The Mohicans were the tribe that had occupied some of the first land to be taken by European colonists, and thus already in 1757 had almost disappeared. In the story, they are down to one father and one son, which adds considerable poignancy to events.
The script in this version makes the interesting choice to deemphasize the role of the Mohicans' friend Hawkeye in the course of the story, instead portraying the two Indians, Uncas and Magua, as the primary figures in the fighting and in the ongoing battle of wits. Cooper's novel contains many lengthy descriptive passages, and they are omitted here, replaced instead by many location shots that efficiently and effectively suggest the atmosphere of the time, without using words.
Albert Roscoe (as he was billed here) stars as the courageous Mohican Uncas, Wallace Beery (always good in the role of a heavy) plays the treacherous, mean-spirited Magua, and Barbara Bedford is Cora, whose safety becomes one of the crucial issues in the conflict.
While the story is largely the same, this has a much livelier pace than the novel, and it really works quite well. The photography is very good, especially for 1920. It is well worth seeing for itself, and as an example of a good approach to adapting a classic novel into a movie.
The story is by and large the one familiar from the novel, set in the Seven Years War (which in the USA is often called the 'French and Indian War'), with the British and French relying heavily on their allies among the various native tribes of North America. The Mohicans were the tribe that had occupied some of the first land to be taken by European colonists, and thus already in 1757 had almost disappeared. In the story, they are down to one father and one son, which adds considerable poignancy to events.
The script in this version makes the interesting choice to deemphasize the role of the Mohicans' friend Hawkeye in the course of the story, instead portraying the two Indians, Uncas and Magua, as the primary figures in the fighting and in the ongoing battle of wits. Cooper's novel contains many lengthy descriptive passages, and they are omitted here, replaced instead by many location shots that efficiently and effectively suggest the atmosphere of the time, without using words.
Albert Roscoe (as he was billed here) stars as the courageous Mohican Uncas, Wallace Beery (always good in the role of a heavy) plays the treacherous, mean-spirited Magua, and Barbara Bedford is Cora, whose safety becomes one of the crucial issues in the conflict.
While the story is largely the same, this has a much livelier pace than the novel, and it really works quite well. The photography is very good, especially for 1920. It is well worth seeing for itself, and as an example of a good approach to adapting a classic novel into a movie.
- Snow Leopard
- Jan 29, 2006
- Permalink
Maurice Tourneur and Clarence Brown co-directed this version James Fenimore Cooper's classic tale of the American primeval forest, The Last Of The Mohicans. In it we have an opportunity to see Wallace Beery get first billing in a film, possibly for the first time as the villainous Magua.
Steeped in the tales of the French and Indian War growing up in the forest region of Upstate New York, Cooper knew his subject and his region well and created some unforgettable literary characters. He was also influenced by Rousseau's ideas of the 'noble savage' who the white man with his civilization had destroyed and continues to destroy. The American Indian was the perfect example for that theory.
Cooper also knew that the Indians, the Hurons here were in the pay of the French. The British too had their allies, the Iroquois Confederation were allied with them. In the end they all got used and abandoned.
As bad as Magua is it's also clear he's in the pay of one faction of the white man which is how I'm sure the Indians saw it back in the day. The noble savage is Uncas played here by Alan Roscoe, a truly magnificent tragic figure who is brought down by his love for one of the Munro sisters.
The Munro sisters Cora and Alice played by Barbara Bedford and Lillian Hall respectively are the daughters of Colonel in charge of Fort William Henry in the Adirondacks. Outnumbered and outgunned the British agree to a surrender to the French, but the Indians all liquored up go hog wild and start killing. Magua who had the Munro Sisters captive before has a thing for Alice who has fallen for Uncas.
Given the title you know it all is going to end badly for a lot of the cast members. That's all I can really say.
This version of The Last Of The Mohicans was filmed at Big Bear Lake and Yosemite National Park to create the primeval forest. Actually that area between the Hudson River and the Massachusetts/Vermont border is still pretty primeval. The cinematography is really outstanding, the best thing about this film.
This silent film after 90 years holds up very well as does Cooper's novel which is an immortal classic.
Steeped in the tales of the French and Indian War growing up in the forest region of Upstate New York, Cooper knew his subject and his region well and created some unforgettable literary characters. He was also influenced by Rousseau's ideas of the 'noble savage' who the white man with his civilization had destroyed and continues to destroy. The American Indian was the perfect example for that theory.
Cooper also knew that the Indians, the Hurons here were in the pay of the French. The British too had their allies, the Iroquois Confederation were allied with them. In the end they all got used and abandoned.
As bad as Magua is it's also clear he's in the pay of one faction of the white man which is how I'm sure the Indians saw it back in the day. The noble savage is Uncas played here by Alan Roscoe, a truly magnificent tragic figure who is brought down by his love for one of the Munro sisters.
The Munro sisters Cora and Alice played by Barbara Bedford and Lillian Hall respectively are the daughters of Colonel in charge of Fort William Henry in the Adirondacks. Outnumbered and outgunned the British agree to a surrender to the French, but the Indians all liquored up go hog wild and start killing. Magua who had the Munro Sisters captive before has a thing for Alice who has fallen for Uncas.
Given the title you know it all is going to end badly for a lot of the cast members. That's all I can really say.
This version of The Last Of The Mohicans was filmed at Big Bear Lake and Yosemite National Park to create the primeval forest. Actually that area between the Hudson River and the Massachusetts/Vermont border is still pretty primeval. The cinematography is really outstanding, the best thing about this film.
This silent film after 90 years holds up very well as does Cooper's novel which is an immortal classic.
- bkoganbing
- May 25, 2010
- Permalink
- classicsoncall
- Oct 14, 2012
- Permalink
This is well photographed, as are most of the films I've seen from director Maurice Tourneur. The framing and composition of shots are apt, except occasionally when it is theatrical. Much of the action happens outside, which helps--freeing the camera and providing scenery. There are some nice lighting effects: use of low-key lighting, nighttime photography, the flickering light against a wall to represent candlelight and such. There are some silhouette shots, which seem to be a trademark in Tourneur's films. The tinting, too, adds to the beauty.
Some moments show a resemblance to D.W. Griffith and Billy Bitzer's work, such as "The Battle at Elderbush Gulch" and "The Birth of a Nation". There are the iris shots and actor's approaching the camera, both of which were popularized by Griffith and Bitzer. The battle scene at the fort is rather Griffith-like. Impressively innovative is the pan of the faces of Magua and Uncas and then them rushing towards the camera, as they begin fighting. The main pictorial schema for this film, and I think it's a good one, if not entirely original, is switching from distanced views to intimate shots, thus taking in the breadth of the scenic environment and concentrating on the story's action. This can be seen in the battle scenes, the cliff scene and pretty much every other important scene outside.
I've referred to this as Tourneur's film, but that's contentious. Clarence Brown, Tourneur's longtime assistant, is said to have directed most of the shooting, due to Tourneur being ill. In the early days without detailed shooting scripts, it's questionable as to how much of the picture was the conception and design of Tourneur, but Brown having worked under him, the issue may be moot. Perhaps, the poor use of the same set for fictionally different locations, made obvious by the successive cuts, in addition to other minor amateurish mistakes, can be blamed on inexperience.
Of worse error are Caucasians playing Indians, and the film's occasional condescension and racism, although it can be commended for its generally respectful treatment. As well, intertitles do replace some action and acting, as fellow commenter Sorsimus criticized. And, the story contrives three moments where Dark Hair faces the choice of replacing herself for Yellow Hair as Magua's captive. The film appears rather unpolished at times, as a result. These are rather minor, or commonplace, problems, though.
This is a promising early picture for Brown, at the peak of Tourneur's career. Tourneur, a pioneer of the medium, dealt with a variety of stories, so from there one can't characterize his body of work easily; it's in cinematography that a characteristic style of innovation and the use of the best of film grammar known can be seen. For Brown, his films would surpass the visual brilliance of his master, with pictures such as, say, "The Flesh and the Devil". Here, it seems he wisely worked from the style of Tourneur to create some very interesting photography.
Some moments show a resemblance to D.W. Griffith and Billy Bitzer's work, such as "The Battle at Elderbush Gulch" and "The Birth of a Nation". There are the iris shots and actor's approaching the camera, both of which were popularized by Griffith and Bitzer. The battle scene at the fort is rather Griffith-like. Impressively innovative is the pan of the faces of Magua and Uncas and then them rushing towards the camera, as they begin fighting. The main pictorial schema for this film, and I think it's a good one, if not entirely original, is switching from distanced views to intimate shots, thus taking in the breadth of the scenic environment and concentrating on the story's action. This can be seen in the battle scenes, the cliff scene and pretty much every other important scene outside.
I've referred to this as Tourneur's film, but that's contentious. Clarence Brown, Tourneur's longtime assistant, is said to have directed most of the shooting, due to Tourneur being ill. In the early days without detailed shooting scripts, it's questionable as to how much of the picture was the conception and design of Tourneur, but Brown having worked under him, the issue may be moot. Perhaps, the poor use of the same set for fictionally different locations, made obvious by the successive cuts, in addition to other minor amateurish mistakes, can be blamed on inexperience.
Of worse error are Caucasians playing Indians, and the film's occasional condescension and racism, although it can be commended for its generally respectful treatment. As well, intertitles do replace some action and acting, as fellow commenter Sorsimus criticized. And, the story contrives three moments where Dark Hair faces the choice of replacing herself for Yellow Hair as Magua's captive. The film appears rather unpolished at times, as a result. These are rather minor, or commonplace, problems, though.
This is a promising early picture for Brown, at the peak of Tourneur's career. Tourneur, a pioneer of the medium, dealt with a variety of stories, so from there one can't characterize his body of work easily; it's in cinematography that a characteristic style of innovation and the use of the best of film grammar known can be seen. For Brown, his films would surpass the visual brilliance of his master, with pictures such as, say, "The Flesh and the Devil". Here, it seems he wisely worked from the style of Tourneur to create some very interesting photography.
- Cineanalyst
- May 20, 2005
- Permalink
- patrick.hunter
- Jan 3, 2006
- Permalink
I love this film. In fact, I find it closer to the novel (written by James Fenimore Cooper) than the 1936 film starring Randolph Scott. Although filmed during the silent era, I find it more "true to form" than the latter film. Wallace Beery is wonderful as "Hawkeye". Unfortunately, nether this nor the 1936 film come close to Michael Mann's thrilling 1992 film. An epic film, It is 1 of my favorite films ever made by Michael Mann. Starring Daniel Day-Lewis as "Hawkeye", with Madeleine Stowe as "Cora Munroe", Jodi May as her sister "Alice Munroe". For me, the best of all casting is the inclusion of 2 very famous Native Americans: Russel Means (as "Chingachgook") and Dennis Banks (as "Ongewasgone"). In fact, Dennis Banks was a co-founder of the American Indian Movement ("AIM"). He was 1 of the leaders of AIM's takeover of Wounded Knee on the Pine Ridge Reservation in South Dakota in 1973. It was a protest against both tribal and U.S. Governments. He was arrested by the FBI. Michael Mann was thrilled when both men accepted his offer to be cast in his (1992) version of this film, which is by far the very best.
- Easygoer10
- Jan 11, 2020
- Permalink
"The Last of the Mohicans" is set "in the Year of Grace 1757", in what was to become the eastern United States. At that time, the "Indians" (aka Native Americans), English, and French were forming different warring alliances; mainly, they were trying to kill each other off, and gain control of the land. The "Indians" depicted in the film are "Mohican" and "Huron" Native Americans. The title gives away the fate of the Mohicans, who are depicted as a dying tribe, with a couple of remaining Chiefs. The "Indians" may have been dying off due to the absence of women among their tribes, which may also explain their constant lust for "white women", as shown throughout the film.
The two main Indians are "Bad Indian" Wallace Berry (as Magua) and "Good Indian" Albert Roscoe (as Uncas). Dark-haired white woman Barbara Bedford (as Cora), who "underplays" to the point of comatose, is the main object they desire. Ms. Bedford and Good Indian Roscoe enjoy an "interracial" flirtation, which is also underplayed to the point of comatose. Mr. Berry is the most romantic member of the cast, employing a funny "come hither" look during one scene. A main storyline involves the task of rescuing Bedford and her Yellow-haired sister (Lillian Hall), and returning them to the safety of their British father.
Along the way, a Huron massacre is shown; this is one of the film's gruesome highlights. "The Last of the Mohicans" main strength is that it is stunningly presented, by Maurice Tourneur. Mr. Tourneur's choice of story material may be lacking, but he always knows how to make films look beautiful. Clarence Brown, on his way to a successful career of his own, assisted.
***** The Last of the Mohicans (11/21/20) Maurice Tourneur, Clarence Brown ~ Barbara Bedford, Wallace Berry, Albert Roscoe
The two main Indians are "Bad Indian" Wallace Berry (as Magua) and "Good Indian" Albert Roscoe (as Uncas). Dark-haired white woman Barbara Bedford (as Cora), who "underplays" to the point of comatose, is the main object they desire. Ms. Bedford and Good Indian Roscoe enjoy an "interracial" flirtation, which is also underplayed to the point of comatose. Mr. Berry is the most romantic member of the cast, employing a funny "come hither" look during one scene. A main storyline involves the task of rescuing Bedford and her Yellow-haired sister (Lillian Hall), and returning them to the safety of their British father.
Along the way, a Huron massacre is shown; this is one of the film's gruesome highlights. "The Last of the Mohicans" main strength is that it is stunningly presented, by Maurice Tourneur. Mr. Tourneur's choice of story material may be lacking, but he always knows how to make films look beautiful. Clarence Brown, on his way to a successful career of his own, assisted.
***** The Last of the Mohicans (11/21/20) Maurice Tourneur, Clarence Brown ~ Barbara Bedford, Wallace Berry, Albert Roscoe
- wes-connors
- Jan 5, 2008
- Permalink
You can't compare this version of the Cooper story to later sound versions--it just wouldn't be fair. It's like comparing apples to oranges. However, if you compare this adventure film to other similar silent films, then it comes off as one of the better ones you can find today. Not only does it do a pretty good job of sticking to the original story, but the production values and acting are superb. For a 1920 film, it was amazingly well-crafted and complex. In particular, the outdoor scenes were so realistic and beautiful. Many of the outdoor scenes (particularly at the end) were like works of art--and look very much like moving Ansel Adams photographs. The mountainous scenes are just gorgeous. The stunts were also amazing and well performed--looking every bit as good as modern stunt-work. Also, while most of the Indians are played by white folks in dark paint (a very, very common practice for the day--and which included Boris Karloff as an extra!), they at least look a lot like real Indians. In fact, I was very surprised that they were able to get Wallace Beery of all people to play the lead evil Indian--and he looked pretty convincing!! A tight script and excellent direction all helped to make this a dandy bit of entertainment--well worth seeing even today.
By the way, in some ways the film may seem pretty offensive (calling the natives "savages"), but for the most part it tried to convey them in a three-dimensional way. Sure there were plenty of bad Indians, but some decent ones as well and the movie tried very hard at times to humanize them--something you rarely saw in contemporary films or even those in the 1930s, 40s or 50s.
By the way, in some ways the film may seem pretty offensive (calling the natives "savages"), but for the most part it tried to convey them in a three-dimensional way. Sure there were plenty of bad Indians, but some decent ones as well and the movie tried very hard at times to humanize them--something you rarely saw in contemporary films or even those in the 1930s, 40s or 50s.
- planktonrules
- Oct 6, 2006
- Permalink
Wallace Beery, sprayed in a striking light-and-dark paint combo, takes on the role of Magua, the treacherous Indian in this silent adaptation of J. Fenimore Cooper's novel from Maurice Tourneur (with help from his protégé, Clarence Brown). Although improbably cast, Beery makes an agreeably boo-able villain whose sole purpose in life seems to be to ravish at least one of the fetching Munro sisters as they make their perilous way to their father's encampment. Plenty of incident and action in this briskly paced flick that builds to a literally cliffhanging finale.
- JoeytheBrit
- Jun 28, 2020
- Permalink
This 1920 silent version of James Fenimore Cooper's story features a lot of nicely composed tableaux, which often illustrate the story as much as they tell it. It is well acted by most of the cast, with Wallace Beery and Harry Lorraine surprisingly convincing and non-stereotypical as, respectively, the Indian villain and hero. The female lead, Barbara Bedford, is quite pretty, and underplays a part where you would expect to see mass histrionics.
Overall, to be honest, this adaptation commanded my respect more than my interest.
5 stars out of 10
Overall, to be honest, this adaptation commanded my respect more than my interest.
5 stars out of 10
- donrogers42
- Aug 18, 2005
- Permalink
This is truly a magnificent film. It goes way beyond nostalgia in its appeal - it is a sublime work of art. Maurice Tourneur, one of the most neglected geniuses of cinema, directed most of it but, after being injured on set, he gave the great Clarence Brown his first directing assignment. And it's easy to see where Brown learnt a lot of the visual stylings that he became so famous for. This film, in a gorgeously restored print with colour tints, is a visual treat - with its revolutionary use of shadows, changes of light, actors moving into the camera, extreme long shots and even a tracking shot. The camera was still pretty immobile in 1920, but through quick edits and superb shot composition, Tourneur creates a sense of movement.
But you'll forget all the technical brilliance once the emotion of the story grabs you - and that will be in the massacre scene, which is one of the most horrifying sequences I have ever seen. And the film's finale on a cliff-top is awesome. Excellent performances from the 17 year old Barbara Bedford, in her film debut, and Alan (then Albert) Roscoe - as the inter-racial lovers. They create an eroticism together that'll have you panting - it's not surprising that the pair later married in real life. And Wallace Beery is menacingly evil as the man who comes between them.
It's an astonishing picture politically too - very contemporary in its treatment of racial issues. The Native Americans, the English and the French are all portrayed as both good and bad - the massacre being blamed primarily on the French giving the Native Americans alcohol. And the inter-racial love is respected by the film-makers and most of the characters.
Don't miss this one - it deserves a place with the great achievements of cinema.
But you'll forget all the technical brilliance once the emotion of the story grabs you - and that will be in the massacre scene, which is one of the most horrifying sequences I have ever seen. And the film's finale on a cliff-top is awesome. Excellent performances from the 17 year old Barbara Bedford, in her film debut, and Alan (then Albert) Roscoe - as the inter-racial lovers. They create an eroticism together that'll have you panting - it's not surprising that the pair later married in real life. And Wallace Beery is menacingly evil as the man who comes between them.
It's an astonishing picture politically too - very contemporary in its treatment of racial issues. The Native Americans, the English and the French are all portrayed as both good and bad - the massacre being blamed primarily on the French giving the Native Americans alcohol. And the inter-racial love is respected by the film-makers and most of the characters.
Don't miss this one - it deserves a place with the great achievements of cinema.
- DigitalRevenantX7
- Jul 11, 2017
- Permalink
The Last Of The Mohicans" is a great savage adventure film (quite reminiscent of the sort of thing that happens with this German Count each time he ventures beyond the Schloss grounds) based on the classic American novel by James Fenimore Cooper. This vibrant film is as beautiful artistically (the film's natural locations are magnificent) as it is efficient technically (cinematography, film narrative). It is a perfect example of the adventure film genre as well the western film genre.
This German Count must say that such efficiency and dynamism are due to the work of the great French film director Herr Maurice Tourneur and his disciple, Herr Clarence Brown.
The first, Herr Tourneur (whose work this German Count is very fond of), worked in a most varied assortment of artistic disciplines (decorator, book illustrator, theatrical actor and even assistant to the French sculptor August Rodin) before beginning his film career, an artistic heritage that is well reflected in his films, especially those of the silent period. He endows his films with high pictorial quality and exquisite visual beauty, as is the case with "The Last Of The Mohicans." The five years spent by Herr Clarence Brown as Herr Tourneur's assistant director were certainly decisive for his career. The influence of the French director, especially the aesthetic influences referenced above, is noteworthy and can be seen particularly with regard to the extensive work of Herr Brown with the great silent diva Damen Garbo.
And now, if you'll allow me, I must temporarily take my leave because this German Count must put on and perfectly adjust his stylish wig, which couldn't be more unlike the ordinary scalps that are seen in this film.
This German Count must say that such efficiency and dynamism are due to the work of the great French film director Herr Maurice Tourneur and his disciple, Herr Clarence Brown.
The first, Herr Tourneur (whose work this German Count is very fond of), worked in a most varied assortment of artistic disciplines (decorator, book illustrator, theatrical actor and even assistant to the French sculptor August Rodin) before beginning his film career, an artistic heritage that is well reflected in his films, especially those of the silent period. He endows his films with high pictorial quality and exquisite visual beauty, as is the case with "The Last Of The Mohicans." The five years spent by Herr Clarence Brown as Herr Tourneur's assistant director were certainly decisive for his career. The influence of the French director, especially the aesthetic influences referenced above, is noteworthy and can be seen particularly with regard to the extensive work of Herr Brown with the great silent diva Damen Garbo.
And now, if you'll allow me, I must temporarily take my leave because this German Count must put on and perfectly adjust his stylish wig, which couldn't be more unlike the ordinary scalps that are seen in this film.
- FerdinandVonGalitzien
- May 10, 2006
- Permalink
- audiemurph
- Nov 20, 2012
- Permalink
During the French and Indian War, Cora Munro and her sister Alice attempt to reunite with their father, who is a Colonel in the British Army. They are aided by the Mohican Uncas and the scout Hawkeye. But the treacherous Magua whips his Huron tribe into a drunken frenzy, and they commit a massacre on the British. Then Magua sets his sights on Cora, setting up a confrontation atop a cliff.
This one is a close call for me. The action scenes are spectacular, and the massacre sequence is incredibly savage. The exterior shots are beautiful, particularly during the climax.
My main issue is with the characterizations. It's easy to hiss at Beery and root for Roscoe, but I found their performances just adequate. Bedford appears to be in a trance for most of the film, staring blankly at nothing.
Theodore Lorch, as Hawkeye, is given next to nothing to do. The British officers, with their powdered wigs, look so much alike that it is impossible to tell who is who. Still, the film is worth a look, if only for those action scenes. The 1936 version, which is the only other adaptation I've seen, is better.
This one is a close call for me. The action scenes are spectacular, and the massacre sequence is incredibly savage. The exterior shots are beautiful, particularly during the climax.
My main issue is with the characterizations. It's easy to hiss at Beery and root for Roscoe, but I found their performances just adequate. Bedford appears to be in a trance for most of the film, staring blankly at nothing.
Theodore Lorch, as Hawkeye, is given next to nothing to do. The British officers, with their powdered wigs, look so much alike that it is impossible to tell who is who. Still, the film is worth a look, if only for those action scenes. The 1936 version, which is the only other adaptation I've seen, is better.
Keeping the story-line close to that of the original novel, this is perhaps the best telling of the Cooper classic. Great photography, and what for the time, must have been considered "under-acting" maintain a timelessness to this version. It is interesting to see a somewhat slim Wallace Beery as the villain Magua. While the 1936 Randolph Scott version is good, this one is the best, much more so than the Daniel Day Lewis atrocity produced in the 90s!!!
Many of the best films ever made were made during the silent era. Titles such as Nosferatu, Sunrise and The Crowd are all stunning examples of how mature an art form silent cinema actually was.
Literary adaptations made up most of the earliest cinema. As films were perceived as a cheap form of entertainment it seemed crazy to actually pay someone to write when you had hundreds of books to film.
Last Of The Mohicans is (obviously) an adaptation. Sadly it is not a good film. Actually it makes me think whether it is a film at all. All of its storytelling happens in the captions. At times you get several captions following each other telling what the characters do. They are followed by panoramic shots of American nature not necessarily relating to the captions in any way. At best you get Images depicting what has just been expressed verbally in the last caption. Murnau made "Der Letzte Mann" without any captions and managed to tell a story ten times more complicated in a lucid and coherent fashion.
All in all this is a very disappointing film that should be forgotten.
Literary adaptations made up most of the earliest cinema. As films were perceived as a cheap form of entertainment it seemed crazy to actually pay someone to write when you had hundreds of books to film.
Last Of The Mohicans is (obviously) an adaptation. Sadly it is not a good film. Actually it makes me think whether it is a film at all. All of its storytelling happens in the captions. At times you get several captions following each other telling what the characters do. They are followed by panoramic shots of American nature not necessarily relating to the captions in any way. At best you get Images depicting what has just been expressed verbally in the last caption. Murnau made "Der Letzte Mann" without any captions and managed to tell a story ten times more complicated in a lucid and coherent fashion.
All in all this is a very disappointing film that should be forgotten.
This movie was probably really incredible for it's time, as it has an interracal love interest, an American Indian protagonist to support and the beautiful cinematography. The Michael Mann movie pales in comparison to this movie, as the Michael Mann movie had less substance to it and most things were on the surface and were forced, while everything in this movie is powerful,, natural and controversial for it's time. Of course, people were obviously prepared, because it was based on the book of the same name, but this movie is fantastic and will even astound those who only watch modern movies. From the opening scene to the last you are enthralled into this historic world, and this movie is both-sided on both the English and the American Indians, which is good. Overall, I'd recommend this to anyone.
I'm sorry. I had to give this movie a 3⭐⭐⭐ review which, I rarely to never do unless other wise. I gave it a 3⭐⭐⭐ almost a 2⭐⭐ all cuz, it was fast pace & it also, felt as the film was abit rushed & it didn't give viewers who do watch it, such as myself, enough time to read the words b'tween scenes cuz, it jump to the scene & the ppl in the film did not speak at all though 20mims i tried to watch but, i lose interest in it very quick. It just wasn't for me. I clearly understand, this was filmed in the 1920's or around 1920's & they may not have had wat film makers/directors have today's world 2023 but, they should have done a remake of this movie 1920's film w/ ppl talkin' & had it play in a decent & just rite pace. I'll b completely honest here, i felt that this 1920's film was only & mainly intended for the use & purposes for schools around the world, as a History lesson, a class assignment &/or a History project. It could b of good use in the Deaf & Mute school's as well, i think. But, tbf i b'lieve that The Last of The Mohicans 1992 film, starring Daniel Day-Lewis film of Last of The Mohicans was the best just this film doesn't match w/ the 1992 film, i don't think. They need to make a 2024 remake version of this 1920's film version, some how, i feel. I just didn't like this version of The Last of The Mohicans, at all. My deepest apologies.
- Manami_Miku28
- Apr 28, 2023
- Permalink