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The Last of the Mohicans

The Last of the Mohicans

Western · Adventure · Drama · 1936

The story is set in the British province of New York during the French and Indian War, and concerns—in part—a Huron massacre (with passive French acquiescence) of between 500 to 1,500 Anglo-American troops, who had honorably surrendered at Fort William Henry, plus some women and servants; the kidnapping of two sisters, daughters of the British commander; and their rescue by the last Mohicans.

Movie details

The Last of the Mohicans

“James Fenimore Cooper's Greatest Tale Of Rousing Adventure!”

1936 Western · Adventure · Drama 1h 31m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

The story is set in the British province of New York during the French and Indian War, and concerns—in part—a Huron massacre (with passive French acquiescence) of between 500 to 1,500 Anglo-American troops, who had honorably surrendered at Fort William Henry, plus some women and servants; the kidnapping of two sisters, daughters of the British commander; and their rescue by the last Mohicans.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Last of the Mohicans?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

George B. Seitz

Written by

Philip Dunne

Randolph Scott

Randolph Scott

Hawkeye

Binnie Barnes

Binnie Barnes

Alice Munro

Heather Angel

Heather Angel

Cora Munro

Henry Wilcoxon

Henry Wilcoxon

Maj. Duncan Heyward

Bruce Cabot

Bruce Cabot

Magua

Phillip Reed

Phillip Reed

Uncas

Robert Barrat

Robert Barrat

Chingachgook

Court is in session

Put The Last of the Mohicans on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.