Maurice Tourneur and Clarence Brown's The Last of the Mohicans occupies a fascinating era of transition in American cinema. The film, an adaption of James Fenimore Cooper's classic novel, demonstrates an evolution in both cinematic language and on-screen performances. Much of the film is comprised of carefully constructed static tableaux that perfectly frame the actors and their actions. But during scenes of great energy and action, like the destruction of the English fort, suddenly the camera becomes mobile. The film indulges in tracking shots, swift edits between multiple scenes of action, and more dynamic shot compositions. Much of the acting still retains over-dramatic theatrical flairs. But Barbara Bedford's performance as Cora Munro displays a much more internalized method of acting. She demonstrates much more restraint than other heroines of her day. However, this damages early scenes where she is so restrained that she seems to be in a daze or coma. But once the actual action of the film gets under way, she seems to "wake up." I was personally amazed by how engaged I was with The Last of the Mohicans. Thinking back, I find that I prefer this version of the film to Michael Mann's 1992 adaptation. Despite its age, Tourneur and Brown's film seems more timeless and provocative.
9/10
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