The Last of the Mohicans


2h 2m 1992

Brief Synopsis

A Native's adopted son falls for the British officer's daughter he's assigned to protect during the French and Indian War.

Film Details

Also Known As
Den siste Mohikanen, Last of the Mohicans, dernier des Mohicans
MPAA Rating
Genre
Romance
Drama
Action
Adventure
Historical
War
Period
Adaptation
Release Date
1992
Distribution Company
20th Century Fox Distribution
Location
Blue Ridge Mountains, North Carolina, USA

Technical Specs

Duration
2h 2m

Synopsis

Epic adventure and romance set against the backdrop of the war raging between England and France and each side's Native American allies, across the frontier beyond Albany, New York. The frontiersman Hawkeye, adopted son of the Mohican Chingachgook, and Cora Munro, the daughter of an English officer, become lovers, and the fates of their families become intertwined as the war and the Huron war captain, Magua, threaten to destroy them.

Crew

Elton Ahi

Other

Willy Allen

Sound Editor

Mary Andrews

Adr Editor

Gordon Antell

Assistant Editor

Albert Aquino

Boom Operator

Bonnie Arnold

Production Associate

Michele S Atkins

Other

Karen M. Baker

Assistant Sound Editor

John L. Balderston

Writer (Adaptation)

John L. Balderston

Screenplay

David Baldwin

Sound Editor

Deborah R Ball

Dresser

Jeff Balsmeyer

Storyboard Artist

Keith T Barber

Production Assistant

Moe Bardach

Casting Associate

Timothy Barnett

Stunts

Stanton Barrett

Stunts

Kevin Bartnof

Foley Artist

Eric G Bartsch

Grip

Ryan Bartsch

Grip

Monte E Bass

Dolly Grip

Gregg Baxter

Adr Supervisor

John R Bayless

Makeup Artist

Paul Beahm

Stunts

Kevin Beard

Production Assistant

Ingrid Behrens

Production Assistant

Virgil Ben

Stunts

Dennis Benda

Other

Lon Bender

Sound Design

Jeff Berger

Production Assistant

Logan Berkshire

Grip

Terrie Berlin

Apprentice

Carlo Bernard

Production Assistant

Paul F Bernard

Production Assistant

Porter Berry

Camera Assistant

Judy Bickerton

Dresser

Michael Bigham

Location Manager

Linda Biondo

Hair Assistant

Jeff Block

Casting Associate

Jerry Blohm

Props Assistant

Judith Blume

Post-Production Supervisor

Kathleen Bobak

Production Assistant

Simone Boisseree

Stunts

Michael Bonsignore

Grip

Matthew Booth

Assistant Editor

George Bosley

Location Manager

Sondra Dee Boyachek

Production Coordinator

Kevin P. Boyd

Video Assist/Playback

Connie Boyer

Makeup

Dennis Bradford

Assistant Art Director

Bruce Bradley

Stunts

Timothy L Braniff

Storyboard Artist

Ted Brasser

Thanks

Ciaran Brennan

Song

Mark S Brien

Stunts

David Brink

Assistant Camera Operator

John T Bromell

On-Set Dresser

Catherine Brown

Other

Roy C Bryson

Hairdresser

Douglas Burchfield

Driver

James Stuart Burns

Driver

Tracy Burns

Production Assistant

Gary Burritt

Negative Cutting

Brian Burrows

Stunts

Jennifer Butler

Costume Supervisor

Michael B Butler

Costume Department

Jerry G Callaway

Director Of Photography

Jerry G Callaway

Dp/Cinematographer

Evan Campbell

Prosthetic Makeup

Steve D Campbell

Assistant

Daniel A Carlin

Music Conductor

Daniel A Carlin

Music Coordinator

Eva M Carlyon

Makeup

Verene Caruso

Hair Stylist

Frederick Cassidy

Thanks

Gusmano Cesaretti

Consultant

Mark Chadwick

Stunts

R J Chambers

Stunts

Todd Charmont

Grip

Cary Mitchell Chavis

Stunts

Caroline Clements

Hair Stylist

Duke Power Company

Other

Frank Connor

Photography

Thomas C Cook

Other

James Fenimore Cooper

Source Material

John Copeman

Stunts

William F Craine

On-Set Dresser

Carole T Crews

Other

Vern Crofoot

Other

Christopher Crowe

Screenplay

Shirley Fulton Crumley

Location Casting

Phil Cunningham

Song Performer

Phil Cunningham

Song

Jack Dalton

Boom Operator

Richard A Davis

Transportation Captain

Sandy De Crescent

Music Contractor

Jennifer C Debell

On-Set Dresser

Brad Dechter

Music Arranger

Mary Lou Devlin

Production Coordinator

Guy Digal

Music Arranger

Dale Dione

Technical Advisor

Mark A Dixon

Location Assistant

Russell J Dodson

Makeup

Ned Dowd

Producer

Ned Dowd

Unit Production Manager

Ron Downing

Property Master

Nick Dudman

Prosthetic Makeup

Philip Dunne

From Story

Philip Dunne

Story By

Richard Duran

Stunts

Kathy Durning

Music Editor

Richard Dwan

Other

Dale Dye

Technical Advisor

Daniel Eccleston

Gaffer

Sean Daniel Eccleston

Other

Bernadette C Echohawk

Casting Associate

Randy Edelman

Music

Randy Edelman

Music Conductor

Mary Kate Edmonstone

Other

Jim Erickson

Set Decorator

John D Evers

Makeup

Mitchell Factor

Stunts

Dianne Fennell

Costume Department

Dale E Fetzer

Other

Eddie Fickett

Set Production Assistant

Brigitte Fiedler

Costume Department

Susie Figgis

Casting

Susan Fiore

Assistant Director

Jay K. Fishburn

Wrangler

Christopher M Fisher

Assistant Camera Operator

Paula Fisher

Special Effects

Scott R. Fisher

Special Effects

Thomas L. Fisher

Special Effects Coordinator

Christian Fletcher

Stunts

David Fletcher

Apprentice

Billy Joe Fredericks

Stunts

Jason Free

Production Assistant

Jennifer Freed

Production Accountant

Brian Frejo

Stunts

Kellie Frost

Driver

Jason Fruchter

Makeup

Ruth Fletcher Gage

Location Assistant

David Galbraith

Assistant Camera Operator

Drew Lynn Gardner

Hair Assistant

Gerrit Garretsen

Dolly Grip

Peter Gelfman

On-Set Dresser

Anne Gentling

Production Assistant

Scott Gershin

Sound Editor

Nerses Gezalyan

Foley Recordist

Prior Gibson

Other

Lance Gilbert

Stunts

Mickey Gilbert

Stunt Coordinator

Tim Gilbert

Stunts

Troy Gilbert

Stunts

Ray Giron

Props Assistant

Julie Lynn Glick

Set Costumer

Titus D Glover Jr.

Production Assistant

Carl Goldstein

Assistant Director

Lisa Goncalves

Assistant

Jeff Goodwin

Makeup Artist

Marilyn Graf

Foley Recordist

Laura Graham

Adr Editor

Rufus Granger

Grip

Darlene Ka-mook Grant

Casting Associate

Rocert E Gravel

Transportation Co-Captain

Alan Greedy

Script Supervisor

Whitney Green

Production Manager

Pierre L Griffen

Makeup

Kenneth Grindstaff

Hair Assistant

Vincent J. Guastini

Prosthetic Makeup

Robert Guerra

Art Director

Mitzi Gunter

Makeup

Patricia Ann Gura

Swing Gang

Daniel Haizlip

Grip

Angela Hajianis

Makeup

Per Hallberg

Sound Editor

Randy Halpern

Grip

Sherry Ham

Stunts

Gloria Hancock

Casting Associate

Shari Hangar

Casting Associate

Roger Hansen

Special Effects

Robert O Hardridge

Stunts

J Mitchell Harris

Caterer

Dwayne Hatchell

Grip

James Hawzipta

Stunts

Philip Haythornthwaite

Consultant

Dan Hegeman

Sound Editor

Doris Hellmann

Post-Production Accountant

D. M. Hemphill

Sound Re-Recording Mixer

Gail Hensley

Dresser

Harold E Hensley

Hair Assistant

Richard Hensley

Hair Assistant

Phil Hetos

Color Timer

Whitney Heuermann

Other

Tina Hightower

Wardrobe Assistant

Hilda Hodges

Foley Artist

Robert G Hoelen

Grip

Dov Hoenig

Editor

Chris Hogan

Dialogue Editor

Dannie Hogan

Location Assistant

Film Details

Also Known As
Den siste Mohikanen, Last of the Mohicans, dernier des Mohicans
MPAA Rating
Genre
Romance
Drama
Action
Adventure
Historical
War
Period
Adaptation
Release Date
1992
Distribution Company
20th Century Fox Distribution
Location
Blue Ridge Mountains, North Carolina, USA

Technical Specs

Duration
2h 2m

Award Wins

Best Sound

1992

Articles

The Last of the Mohicans (1992)


James Fenimore Cooper's 1826 novel, The Last of the Mohicans, a frontier adventure set in the Adirondacks in 1757, was one of the most popular books of its day. A century later, it remained a popular tale with Hollywood, first turned into a film in 1911 and remade in numerous incarnations for both the big screen and the small screen. Michael Mann's 1992 film version is as much based on the 1936 version scripted by Philip Dunne and starring Randolph Scott as Hawkeye, the white man adopted and raised by a Mohican father, as it is on Cooper's original novel, but it's also reflective of its director and its time. Daniel Day Lewis plays a different kind of Hawkeye: rugged and wild with long flowing hair, a proto-counter culture son of mother nature in buckskin, living off the land with his father Chingachgook (Russell Means) and brother Uncas (Eric Schweig). They live in harmony with the white settlers of the wilderness, men and families who have left the transplanted European society of the cities to carve out lives of independence. But while they have distanced themselves from the European struggles for power and control, the war comes to them as the French and the British both lay claim to the lands of the New World.

Hawkeye and Uncas have no investment in this battle ("I ain't your scout and I sure ain't in no damn militia," challenges Hawkeye when a British officer attempts to recruit settlers) until they fall in love with the daughters of Colonel Munro, the British commander of a fort under siege by the French. The younger Uncas is entranced by Alice (Jodhi May) while Hawkeye clashes with the strong-willed beauty Cora (Madeleine Stowe), a striking English Rose in the New World. With skin like porcelain and the poise of a lady, Stowe offers a Cora whose initial shock at the brutality in this wilderness is replaced by awe and excitement even as the frontier becomes deadly. Her initial British patriotism gives way to respect for the settlers and passion for Hawkeye and the honesty of his life, especially when contrasted with Major Duncan Heyward (Steven Waddington), the proper British officer who places patriotism and class allegiance over truth and justice. The seeds of American identity are sown as the British break their contract with the members of the local militia, privileging rank and power and duty to the crown's political interest over the protection of the settlers on the frontier whose homesteads are vulnerable to the war parties backed by the French. It's "tyranny," proclaims one settler, a term that resonates in the birth of the American Revolution.

Though set twenty years before the declaration of independence, Mann offers a portrait of a country and a people who have already redefined themselves. The British march in with notions of duty and ritual and authority that have no place in the wilderness, and ideas of warfare out of touch with the realities of this world. The early scenes of British society in the American landscape have a carefully composed beauty that recalls Stanley Kubrick's Barry Lyndon (1975) with scenes that resemble formal paintings. Once Heyward heads into the untamed wilderness with Cora and Alice, the red uniforms and formal training of his troops are glaringly at odds with the primal Eden. Hawkeye and his brother, by contrast, move through the forest like they are one with it.

The Last of the Mohicans was an unexpected project for Mann. His previous films had all been resolutely urban and focused on professionals on both sides of the law squaring off against one another. Hawkeye and Uncas flee society to live in the wilderness but like Mann's traditional heroes, they are the best at what they do and only beholden to their family. The most characteristically "Mann" moment of the film observes their careful preparations to give cover to a courier running for help - the fluid movements of the wordless routine as they hand off spent rifles and take aim with a new weapon, and the precision of their shots with the single-shot muzzle-load rifles (which Hawkeye packs with silk to give him greater distance). The lanky Day-Lewis underwent a rigorous schedule of fitness training to build muscle and a six month study of wilderness skills, from tracking animals and building canoes to fighting with tomahawks and loading and firing a flintlock on the run, to prepare for the role. But where the heroes of Mann's crime dramas sacrifice personal lives to professionalism, the lives and allegiances of Hawkeye and Uncas change when they fall in love with the two Duncan girls. Theirs is a romantic story and this is Mann's most deliriously romantic movie.

Though set in upstate New York, Mann took his production to Western North Carolina and the Appalachian mountains of Alabama to find the dense wilds and rugged wilderness the film called for. Longtime Mann cinematographer Dante Spinotti captures this like a vivid nature study with an impressionist perspective and realist detail (Spinotti earned a BAFTA, the British equivalent to an Oscar®, for his cinematography). The production called for over a thousand extras, including hundreds of Indian roles which Mann cast with Native Americans, largely Iroquois. Indian rights activist Russell Means made his screen debut as Chingachgook, a small part but a central role that demanded a strong presence. Eric Schweig, a Canadian-born actor of Inuit descent with a few roles to his credit, was cast as the quiet but athletic young Uncus, younger brother to Hawkeye. And Wes Studi, a Cherokee who had memorably played the silent American Indian in Oliver Stone's The Doors (1991), launched a very successful career with his performance as the vengeful Magua. He subsequently went on to play the title role in Geronimo: American Legend (1993) and a central character in Mann's 1995 crime thriller Heat, among his many roles.

The Last of the Mohicans was made in the wake of Dances with Wolves (1990) and, like that Oscar®-winning film, it's a portrait of a culture that is being displaced by a new society coming in and taking over the land. But while the title of the film refers to Chingachgook, the last Chief of the Mohican tribe, and his blood son Uncas, the last full-blooded Mohican, the story of Uncas and his romance with Alice (which is the focus of the 1920 silent version) is left to the margins of this film. This story is about the white man adopted into the native way of life. It's also a portrait of a short-lived time of peaceful coexistence between the early American settlers and the Native Americans, at least until the armies from the European powers march in to stake their political claim to the land and stir up local Indian tribes to join in their war. The Last of the Mohicans mourns that ideal even as it celebrates the union of Hawkeye and Cora, the strong, rugged and distinctly American couple who will define the new Americans as the country is being born.

Producer: Hunt Lowry, Michael Mann
Director: Michael Mann
Screenplay: Michael Mann, Christopher Crowe (both screenplay); Philip Dunne (1936 screenplay); John L. Balderston, Paul Perez, Daniel Moore (all adaptation); James Fenimore Cooper (novel)
Cinematography: Dante Spinotti
Art Direction: Robert Guerra, Richard Holland
Music: Randy Edelman, Trevor Jones
Film Editing: Dov Hoenig, Arthur Schmidt
Cast: Daniel Day-Lewis (Hawkeye (Nathaniel Poe)), Madeleine Stowe (Cora Munro), Russell Means (Chingachgook), Eric Schweig (Uncas), Jodhi May (Alice Munro), Steven Waddington (Maj. Duncan Heyward), Wes Studi (Magua), Maurice Roëves (Col. Edmund Munro), Patrice Chéreau (Gen Montcalm), Edward Blatchford (Jack Winthrop).
C-112m. Letterboxed. Descriptive Video.

by Sean Axmaker
The Last Of The Mohicans (1992)

The Last of the Mohicans (1992)

James Fenimore Cooper's 1826 novel, The Last of the Mohicans, a frontier adventure set in the Adirondacks in 1757, was one of the most popular books of its day. A century later, it remained a popular tale with Hollywood, first turned into a film in 1911 and remade in numerous incarnations for both the big screen and the small screen. Michael Mann's 1992 film version is as much based on the 1936 version scripted by Philip Dunne and starring Randolph Scott as Hawkeye, the white man adopted and raised by a Mohican father, as it is on Cooper's original novel, but it's also reflective of its director and its time. Daniel Day Lewis plays a different kind of Hawkeye: rugged and wild with long flowing hair, a proto-counter culture son of mother nature in buckskin, living off the land with his father Chingachgook (Russell Means) and brother Uncas (Eric Schweig). They live in harmony with the white settlers of the wilderness, men and families who have left the transplanted European society of the cities to carve out lives of independence. But while they have distanced themselves from the European struggles for power and control, the war comes to them as the French and the British both lay claim to the lands of the New World. Hawkeye and Uncas have no investment in this battle ("I ain't your scout and I sure ain't in no damn militia," challenges Hawkeye when a British officer attempts to recruit settlers) until they fall in love with the daughters of Colonel Munro, the British commander of a fort under siege by the French. The younger Uncas is entranced by Alice (Jodhi May) while Hawkeye clashes with the strong-willed beauty Cora (Madeleine Stowe), a striking English Rose in the New World. With skin like porcelain and the poise of a lady, Stowe offers a Cora whose initial shock at the brutality in this wilderness is replaced by awe and excitement even as the frontier becomes deadly. Her initial British patriotism gives way to respect for the settlers and passion for Hawkeye and the honesty of his life, especially when contrasted with Major Duncan Heyward (Steven Waddington), the proper British officer who places patriotism and class allegiance over truth and justice. The seeds of American identity are sown as the British break their contract with the members of the local militia, privileging rank and power and duty to the crown's political interest over the protection of the settlers on the frontier whose homesteads are vulnerable to the war parties backed by the French. It's "tyranny," proclaims one settler, a term that resonates in the birth of the American Revolution. Though set twenty years before the declaration of independence, Mann offers a portrait of a country and a people who have already redefined themselves. The British march in with notions of duty and ritual and authority that have no place in the wilderness, and ideas of warfare out of touch with the realities of this world. The early scenes of British society in the American landscape have a carefully composed beauty that recalls Stanley Kubrick's Barry Lyndon (1975) with scenes that resemble formal paintings. Once Heyward heads into the untamed wilderness with Cora and Alice, the red uniforms and formal training of his troops are glaringly at odds with the primal Eden. Hawkeye and his brother, by contrast, move through the forest like they are one with it. The Last of the Mohicans was an unexpected project for Mann. His previous films had all been resolutely urban and focused on professionals on both sides of the law squaring off against one another. Hawkeye and Uncas flee society to live in the wilderness but like Mann's traditional heroes, they are the best at what they do and only beholden to their family. The most characteristically "Mann" moment of the film observes their careful preparations to give cover to a courier running for help - the fluid movements of the wordless routine as they hand off spent rifles and take aim with a new weapon, and the precision of their shots with the single-shot muzzle-load rifles (which Hawkeye packs with silk to give him greater distance). The lanky Day-Lewis underwent a rigorous schedule of fitness training to build muscle and a six month study of wilderness skills, from tracking animals and building canoes to fighting with tomahawks and loading and firing a flintlock on the run, to prepare for the role. But where the heroes of Mann's crime dramas sacrifice personal lives to professionalism, the lives and allegiances of Hawkeye and Uncas change when they fall in love with the two Duncan girls. Theirs is a romantic story and this is Mann's most deliriously romantic movie. Though set in upstate New York, Mann took his production to Western North Carolina and the Appalachian mountains of Alabama to find the dense wilds and rugged wilderness the film called for. Longtime Mann cinematographer Dante Spinotti captures this like a vivid nature study with an impressionist perspective and realist detail (Spinotti earned a BAFTA, the British equivalent to an Oscar®, for his cinematography). The production called for over a thousand extras, including hundreds of Indian roles which Mann cast with Native Americans, largely Iroquois. Indian rights activist Russell Means made his screen debut as Chingachgook, a small part but a central role that demanded a strong presence. Eric Schweig, a Canadian-born actor of Inuit descent with a few roles to his credit, was cast as the quiet but athletic young Uncus, younger brother to Hawkeye. And Wes Studi, a Cherokee who had memorably played the silent American Indian in Oliver Stone's The Doors (1991), launched a very successful career with his performance as the vengeful Magua. He subsequently went on to play the title role in Geronimo: American Legend (1993) and a central character in Mann's 1995 crime thriller Heat, among his many roles. The Last of the Mohicans was made in the wake of Dances with Wolves (1990) and, like that Oscar®-winning film, it's a portrait of a culture that is being displaced by a new society coming in and taking over the land. But while the title of the film refers to Chingachgook, the last Chief of the Mohican tribe, and his blood son Uncas, the last full-blooded Mohican, the story of Uncas and his romance with Alice (which is the focus of the 1920 silent version) is left to the margins of this film. This story is about the white man adopted into the native way of life. It's also a portrait of a short-lived time of peaceful coexistence between the early American settlers and the Native Americans, at least until the armies from the European powers march in to stake their political claim to the land and stir up local Indian tribes to join in their war. The Last of the Mohicans mourns that ideal even as it celebrates the union of Hawkeye and Cora, the strong, rugged and distinctly American couple who will define the new Americans as the country is being born. Producer: Hunt Lowry, Michael Mann Director: Michael Mann Screenplay: Michael Mann, Christopher Crowe (both screenplay); Philip Dunne (1936 screenplay); John L. Balderston, Paul Perez, Daniel Moore (all adaptation); James Fenimore Cooper (novel) Cinematography: Dante Spinotti Art Direction: Robert Guerra, Richard Holland Music: Randy Edelman, Trevor Jones Film Editing: Dov Hoenig, Arthur Schmidt Cast: Daniel Day-Lewis (Hawkeye (Nathaniel Poe)), Madeleine Stowe (Cora Munro), Russell Means (Chingachgook), Eric Schweig (Uncas), Jodhi May (Alice Munro), Steven Waddington (Maj. Duncan Heyward), Wes Studi (Magua), Maurice Roëves (Col. Edmund Munro), Patrice Chéreau (Gen Montcalm), Edward Blatchford (Jack Winthrop). C-112m. Letterboxed. Descriptive Video. by Sean Axmaker

Quotes

Trivia

Miscellaneous Notes

Released in United States Fall September 25, 1992

Released in United States on Video March 10, 1993

Fifth feature film adaptation of James Fenimore Cooper's novel: in 1920, directed by Clarence Brown; in 1932, directed by B Reeves Eason and Ford Beebe; in 1936, directed by George B Seitz and in 1968 directed by Romania's Sergiu Nicolaescu.

Based on the novel "The Last of the Mohicans" written by James Fenimore Cooper and published in 1826.

Douglas Milsome was replaced by Dante Spinotti as director of photography. Also, during shooting, costume designer James Acheson left the production.

Began shooting June 17, 1991.

Completed shooting October 10, 1991.

Released in United States Fall September 25, 1992

Released in United States on Video March 10, 1993