Review of The Last of the Mohicans (1992) by Ben S — 23 Apr 2013

Michael Mann's romanticised historical epic may have been released in 1993 but it has all the hallmarks of classic matinee storytelling, with an unquestionably wholesome leading man attacked by foreign oppressors and guided by his virtuous heart. As the French and Indian war tears across North America in 1757, adopted Mohican Hawkeye (Daniel Day-Lewis) and his brother and father save a British colonel's daughters from the hands of the French and the Huron tribe who fight alongside against the English. After witnessing the bloody injustices committed across the continent, and with a growing affection for one of the rescued girls, Cora (Madeleine Stowe), Hawkeye and his family are drawn deeper into the conflict.

Refreshingly uncomplicated and hugely entertaining throughout, this offers the simple thrills and pure escapism expected of big Hollywood cinema. The pounding emotive orchestral score, which leaves little chance of misreading a character or their motivations, rises and falls beautifully lending a warm nostalgic feeling. The music is almost as monumental as the performances. There is nothing subtle about this film: big emotions playing out in even bigger landscapes. Undeniably inflated and overblown, this is the very secret of the film's success. From the first reel it's a black and white tale of heroes and villains, and the power of pure hearts to conquer all. Never attempting to be anything darker or more complex, it chooses sentimentality over historical accuracy and is all the better for it. This is the kind of film that can be relaxed into. We all know where we're generally heading - sit back and enjoy the spectacle.

Although predictable, 'Mohicans' is still engrossing thanks partly to several breathtaking battle scenes that don't shy away from the bloodletting. Gunsmoke and flying tomahawks fill the screen as both sides clash in the forests and plains of the Hudson River Valley - the archaic weapons and setting lending far more danger and brutal enjoyment than their contemporary counterparts. Vicious violence plays in parallel with the swelling pure romance between Hawkeye and Cora, a relationship it's easy to root for in the face of the adversities and cruelties they endure. Day-Lewis makes use of his considerable screen presence to bring more weight to the character of Hawkeye than perhaps is present in the script, a real 'leading man' performance in the oldest traditions of Hollywood.

Essentially a well-executed melodrama with some added bloodshed and a rousing musical score, only the stoniest of hearts will fail to be stirred by this. Back to basics filmmaking that proves straightforward stories produced with passion will always be valid, no matter how tastes change.