![Michael Mann](https://m.media-amazon.com/images/M/MV5BMTU2MjMzODY3Ml5BMl5BanBnXkFtZTYwNjE0OTMz._V1_QL75_UX140_CR0,2,140,207_.jpg)
![Michael Mann](https://m.media-amazon.com/images/M/MV5BMTU2MjMzODY3Ml5BMl5BanBnXkFtZTYwNjE0OTMz._V1_QL75_UX140_CR0,2,140,207_.jpg)
Michael Mann’s films turn on the fulcrum of historical upheaval. Sometimes that upheaval is imminent; sometimes it has already happened. In either case his characters are precision-tuned to reflect it, existing within an exact moment in time that violently disrupts their worldview and forces them to reconsider their very methods of being. Personal ideals are often overshadowed by realpolitik—cold, clinical systems that rely on dehumanization to function.
The Last of the Mohicans, adapted from James Fenimore Cooper’s 1826 novel of the same name, stands among the purest distillations of Mann’s narrative rigor. Though an aesthetic departure—his signature glittering skylines and rain-slicked city streets are replaced with the verdant wilderness of colonial Albany—the film is every bit as concerned, if not more so, with the cosmic ebb and flow of change, the individuals swept up in it. Its fluctuating scope is laid bare in its two opening intertitles: “1757. The American colonies.
The Last of the Mohicans, adapted from James Fenimore Cooper’s 1826 novel of the same name, stands among the purest distillations of Mann’s narrative rigor. Though an aesthetic departure—his signature glittering skylines and rain-slicked city streets are replaced with the verdant wilderness of colonial Albany—the film is every bit as concerned, if not more so, with the cosmic ebb and flow of change, the individuals swept up in it. Its fluctuating scope is laid bare in its two opening intertitles: “1757. The American colonies.
- 9/22/2022
- by Cole Kronman
- The Film Stage
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