Starring Daniel Day-Lewis as Hawkeye, Madeline Stowe as Cora, and Wes Studi as Magua, Mann's Last of the Mohicans is a complex, moving, and historically rich film, albeit one that is only loosely based on Cooper's novel. There are deviations, certainly, but the changes made are undoubtedly improvements on both the themes and characterizations, most of which in the source material are at best "quaint" by today's standards.
As a period drama and an action movie, Last of the Mohicans proves action films don't have to be mindless morasses of explosions. There is surprising depth to this film, and in spite of my having watched this movie more times than I can count, I was still able to detect the many layers in this richly American movie. And I stress "American" because the very essence of this film is about the myriad clashes that took place with the germination of this country. The colonials' rising resentment of British rule; the collision of white settlers, Native Americans, and the British and French governments; the clashes between European and guerrilla warfare; the erosion of Native American culture: all of these themes intersect in the most moving and exciting ways in the hands of Michael Mann.
Mann is often a hit or miss when it comes to directing. He has the skills, certainly, but his movies do not often reflect his talent. Last of the Mohicans and Heat, however, represent Mann at his best--although, Mann has done much to sabotage this.
The theatrical cut of Mohicans was released on video tape in the early nineties, and it is the best version. However, Mann refuses to put this version on DVD or Bluray. In the early 2000s, Mann released what he called the "Director's Expanded Edition," which could not have been a more dishonest title; the so-called "Expanded Edition" cut nearly all of the best one-liners from the film, some of the music, and even some scenes, resulting in a clunky dud of a movie. I still remember watching this version when I (foolishly) purchased it as a teen. I yelled "No!" the entire time and truly considered writing Michael Mann a letter. Evidently Mann saw the error of his ways (not one human being preferred that edition) and then released his "Director's Definitive Cut" on Bluray. This version does restore many (but not all) of the lines from the theatrical version, and it brings back the beautiful Clannad song ("I Will Find You"), but like its predecessor has a few places that feel clunky due to Mann's using different takes in a few scenes or editing the dialogue in a way that simply does not make sense. As I watched it tonight, I felt annoyed by the changes. Nevertheless, the "Definitive Cut" is the closest you can get to the theatrical cut. I have no idea why Mann refuses to put out the true version of his best movie, but there you go.
The production value of this film is astounding. The score itself is magnificent and one of my favorites; the scenery could not be more lush and beautiful; and the acting is excellent. I would like it to be known that I consider Wes Studi's performance as Magua one of the best movie villains of all time. The fact that he was not even nominated for an Oscar must rank as one of the most colossal Oscar-snubs in history. He plays Magua as a complex man driven by anger and hatred that he has allowed to poison his very soul. Without a doubt, Magua is a victim of colonization, which is made clear when he recounts his suffering at the hands of "the Grey Hair" to French General Montcalm. Yet, he has allowed his anger to define him completely, and in the end he is completely consumed by it--all to his own detriment. It is a fantastic performance and one of my favorites.
In some slick and imaginative casting, Mann cast Indian rights activist Russell Means as Chingachgook. As one of the many improvements on the novel, Chingachgook here is a father figure to Hawkeye. In the books he's more of a "gentle savage" who is always subordinate to Hawkeye/La Longue Carabine/The Deerslayer/and all of the other nicknames he has in the books. I read The Pathfinder a few years ago and was struck by the massive difference in characterization. Means plays him with dignity and depth, which again enriches the film's themes.
The battle sequences are probably one of the best things about this movie. When it comes to building tension before an action sequence, few surpass Mann. The two massacres are still enthralling to watch, and the violence is realistic (especially the scalpings).
The final 15 minutes or so of this film should be required viewing for anyone interested in film making. Without dialogue, Mann employs pure cinematics to tell the story's conclusion. The placement of the shots in this scene is still moving to watch (despite how many times I've seen it). This scene is among the finest in terms of pure visual storytelling as it captures visually the emotions, action, and themes that simultaneously climax in this sequence.
In short, Last of the Mohicans is a stirring, exciting film. Michael Mann has never surpassed it in the 24 years since it came out, and he will not cease to suppress the true version. For the time being, the "Director's Definitive Cut" must suffice.
Grade: A
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