I've had this conversation a few times with friends, but for me the sequence starting with Duncan's sacrifice and ending with Magua's death is the most brilliant thing I've ever seen on screen. The combination of stunning visuals, a perfect score, and about five very visceral emotional hits.. it just kills me every time.
Granted I haven't seen everything I should have in the world of film, but if you can point me to something else this great, please do :)
If you're interested in Michael Mann films, all of his movies reach a crescendo with an extended dialogue-less scene, often with a heavily musical element.
Thief - Frank raids Leo's house accompanied by Craig Safan's music on guitar The Keep - Glaeken battles Molasar with Tangerine Dream playing Manhunter - Graham storms Dollarhyde's house with "Ina Gadda Da Vida" blaring (it has to be played loud!) Mohicans - as you talk about, the pursuit through the mountains Heat - Hanna chases McCauley through the airport (no music until the very end when Moby starts playing) The Insider - Bergman watches the party through the window and then leaves the building alone Ali - the last round of Ali/Foreman with Salif Keita's amazing "See You Tomorrow" playing Collateral - cat and mouse in the train with Vincent and Max Miami Vice - the shoot out/Crockett letting Isabella leave/the hospital scene with Mogwai's Auto Rock playing Public Enemies - the FBI stalk Dillinger with Eliot Goldenthal's music dominating
Haven't seen Blackhat yet so can't comment on that, going on Monday.
"Someday we'll fall down and weep...and we'll understand it all. All things."
Friends have told me Blackhat is not his best effort. We are pinning high hopes on his future project, (we hope),Agincourt, but still with scriptwriters' stage!
It's interesting, Heat, to me is a fantastic, great film - but not that many people know of it? I've seen that one about a 1/2 dozen times - I love how he's brought relationship with the women into the story.
in Heat, that scene for me is the escape from the heist, starting with them entering the bank and ending with Sizemore and Pacino. But from the moment he enters the hotel to the very end of the airport is also pretty amazing stuff. But i think they both pale compared to the end of this.
Definitely one of the best sequences. The buildup was excellent, and the events just got more and more heartbreaking, and then they go and do the last thing you'd expect. I was young when I saw this, and was conditioned by movies to expect the big Hero vs. Villain fight, and of course he'll win after a long and grueling battle.
Boy, was I surprised when the hero stood back while his father went completely *beep* on Magua. It wasn't even a fight. The antagonist gets completely destroyed before he can even register what just happened.
It blew my mind and shattered all my expectations, pure genius. I need to go watch it now.
Great sequence no doubt but it's hard to say the best ever.
SOmeone else said that the rest of the film was average. Now that i disagree with. It is not a perfect film, I gave it a 9, although I wish I could give it a 9.5. Just can't give it a 10 - while I tend to be generous with liberties taken by works of historical fiction, this film pushes that generosity too far. For example the massacre following the fall of Fort William Henry is implied to have followed a green light's having been given by Montcalm. Most historical readings suggest it was done by the Huron and their allies out of frustration at the French not letting them gain spoils during an earlier victory. Perhaps the filmmakers felt a need to say the French were just as bad as the English in terms of the morality of warfare displayed. And even if you tend to be more skeptical of the French, there were other inaccuracies. For example Monro's already surrendered force had been attacked even before the march away began. In short it was no surprise as indicated by the film when they were attacked again, after the march had commenced. As if that is not enough, Monro was not killed during the march.
On the other hand it was arguably not the filmmakers who made these errors, and they after all can more or less be found in Cooper's novel. If the film is really an adaptation of the book, and not an attempt at historical accuracy, why blame the filmmakers for them? Well, I do think none of this is cleared up by the film, so I do think it detracts.
But that is a relatively small consideration. I thought the chemistry between DDL and Madeleine Stowe was excellent, and both did great jobs in their roles. The supporting cast was also excellent for the most part, especially Wes Studi as Magua, but imo Roeves's performance as Monro was overdone.
But the film's power was not limited to the 10 minutes in question here, as great as that sequence is. I thought it maintained momentum and interest throughout, and despite the historical issues WAS effective in explaining how the American colonists had reason to see in the War's management that there were issues with the English, that grew into the patriotism that fed the American Revolution.
That's funny. I've had the exact same conversation with friends of mine as well.
It's one of those rare moments in filmmaking when every artistic and technical decision the director made was the perfect one, and altogether, they work harmoniously in symphony to create arguably the most powerful sequence ever in cinema.
The way Magua gutted Uncas like a fish and his blood sprayed on his face. Then the way he just tossed him off the cliff like you'd throw fish guts back into the ocean, it was almost with disinterest. Then the girl starts drifting towards the edge of the cliff and Magua changes emotional beats. He puts out his hand, covered in Uncas' blood. He motions for her to come back, but says nothing, even though we know he speaks English very well.
And then those close ups of Jodhi May staring bleakly at the camera. She doesn't even jump. She doesn't even have the passion or will to, really. She just looks down, accepts her fate, and lets herself drift off.
Then, Magua has to instantly set aside his emotions with stoicism because all his warriors are there and he's the alpha.
I agree word for word with what HaloFett has written about the film's ending. I can watch endlessly this cliff scene...cinematic perfection...this close up of Jodhi May's face, you could make a poster of it!! Pure grace.
I just fear that no film will be able to elicit such emotions via motion pictures again in my lifetime...
What a Top Ten thread this is. Almost everyone has contributed some brilliance. I agree that no film will be able to elicit such emotions again in my lifetime. Its genius lies in all the elements everyone has noted, but then there's 1) romantic love (Duncan, Alice and Uncas); 2) filial love (Natty, when he goes "Black Ops"); and parental (Chingachgook).