最后的莫希干人

主要看点是马格瓦的战斧猎刀绝技.

马格瓦在小说的铺垫当中显得狡猾残忍,在几场重头戏中却表现得和懦夫无异. 相对小说里的失败人物塑造而言,电影在这方面比小说好得太多.

至于鹰眼和快腿鹿的角色置换,就没什么好说了.

最后一个莫希干人是很多人颇为称道的名片了。可我总是先看过美国商业大片，在当期大片的DVDrip看完之后我才开始欣赏我的一些典藏。

最后一个莫西干人，就是如此。

所谓剧情，简介什么的我也无须再说，网上大把，背景故事也不用再提，非常喜欢的人可以直接买书来看。当当什么的都有。

我说说自己喜欢的地方，最后一个莫西干人在片中其实是千家谷，他在片尾那些话说的很有深意。白人会来到印第安人的这片土地，当一个个本地民族消失，同化，殖民这个概念其实也不复存在，这是历史发展的必然，你可以预见，但不可抗拒。

说起来最感动的场面，我看是英国军官德勒代替豪克依来顶替英国守军将领门罗的女儿歌娜要被烧死的那一幕，德勒之前是心仪于门罗的大女儿歌娜的，可是歌娜爱上了土著豪克依，在歌娜被另外的土著休伦族抓住要活活烧死的时候，豪克依去说情并想让休伦族的长老同意烧死自己换取歌娜的性命。做为豪克依的翻译的德勒，在这个时候本来是可以顺理成章的看到自己的情敌被烧死，自己就更有机会和生还的歌娜一起，但他翻译时故意说成了是自己要去代替被烧死......选择自己被活活烧死，祝福爱人和自己的情敌，这本是一个人不可能会做出来的选择，可是他这样做了。好伟大，真的好伟大。

另外一个情节也是感人至深，门罗的小女儿爱丽丝被豪克依的哥哥雍加爱慕，但她被休伦族的激进者马瓜胁迫，雍加去救爱丽丝却被马瓜杀死并从悬崖坠下，这时惊人的，在剧中一直羸弱的爱丽丝见此情景，居然自己毅然的跳入崖下。那份弱女子的勇敢和坚定让人敬佩不以。

你可以说这是一部战争片，在我心里，它也讲述了人性，爱，自由。

很好看的电影，推荐。

Michael Mann (b. 1943)

Like Bruce Beresford, Michael Mann might claim to be slightly other than the “typical” Hollyoood director, though he is Chicago-born and works a little more comfortably within American genres and conventions. But his apprenticeship includes a B.A. in literature from University of Wisconsin and a film degree from the prestigious London Film School. Returning to the USA in the1970s, he moved smoothly into commercial advertising where, like Ridley (Blade Runner) Scott, he quickly claimed distinction for his remarkable sense of lighting and décor. By the early 1980s he had segued off into television, gaining fame as the executive producer of a popular and long-running investigative crime drama, Miami Vice. The series established the city of Miami as the new site of “film noir” and its impact on the industry is still visible in contemporary shows like Miami CSI and The Glades. Lots of neon, lots of light on water, lots of with-it music.

Frequently, directors who gravitate towards television sink below the horizon and are never heard from again. Mann was spared this fate because his skills-set fit nicely with the popular neo-noir revival of the 1980s and 1990s, to which he contributed Manhunter (1983). LA Takedown (1986) and Heat (1995), and The Insider (1999). In the new millennium Mann would add Miami Vice (2006) and Public Enemies (2009) to his screen credits: the first is a film vaguely evolved from the television series of the 1980s and the second a reprise of the 1930s gangster film, built around the figure of John Dillinger. It has never done any harm to Mann’s career that he is also a capable screenwriter and a competent business manager with a knack for collecting first-class theatrical talent (think, Al Pacino, Robert DeNiro, and Russell Crowe, among others). Though his proven achievements would seem to best suit him for films with contemporary, urban settings and accents of the thriller, it didn’t surprise too many people when he was contracted to direct The Last of the Mohicans (1992), the sixth remake of James Fenimore Cooper’s novel of the same name, the favorite narrative of “Leather-Stocking Tales,” which founded the western genre in the 1820s.

As in Black Robe, we have in Last of the Mohicans a narrative of the earlier American west, when the “frontier” began on the northwest outskirts of New York City. We are now slightly more than 100 years downstream from the period of the Jesuit chronicles, but the war we are plunged into is the same world-historical battle between the empires of France and Britain for the control of North America. Now in its final phase, a seven-year encounter which in the USA is called the French/Indian War (1756-63), this protracted battle leaves Britain the master of the continent, but also brings to the world stage a new set of actors who are beginning to call themselves “Americans,” and even remarking, quietly and hesitantly still, that they might prefer not to be servants of the English crown. The tribal tensions remain much the same: the Indians south of Lake Ontario (the Iroquois and the Mohicans) are allied with the English; the Algonquins and the Hurons, both north of the lake, take their marching orders from the French. A little incongruously, the Mohicans are tribal kin of the Algonquins, as indicated by their language, and bear no great love for the Iroquois. But the Iroquois Confederacy, the most powerful Native American political force of New York and New England, pursued a policy of “assimilation,” which forcibly drew members of other tribes into their own, sometimes effectively erasing the tribe’s original identity. Hence the dire threat state to the Mohicans, which gives Cooper the title of his novel.

Fenimore Cooper, of course, is much more invested in these historical events than Michael Mann. The creator of “Leather Stocking” belongs to the first generation of post-revolution Americans: he was born in 1789, virtually at the outset of Washington’s first term as President. And one of the crucial events of Cooper’s teenage years was the journey of Lewis and Clark up the Missouri river to map the land acquired in the Louisiana Purchase. More to the point, perhaps, is that he was growing up during the second war with Britain (1812-14), in which the USA had decisively defeated English forces in the west. A decade later, just three years before the publication of Cooper’s novel, President Monroe sent to Congress a message known as the Monroe Doctrine, which decisively asserts the claims of American nationalism against all the European powers. Cooper writes out of this intensely nationalistic milieu, but is aware of some of its complexity, working very self-consciously with issues of race and ethnicity. What place, if any, do the native peoples have in the new nation? How have they contributed to the creation of a unique American sensibility? How do we gracefully invite them to leave the land to us? As you will see in our small excerpt from the novel, Cooper struggles with these questions, finding them a bit awkward.

Mann is far less interested in American history and operates at a much lower level of political fervor. You might notice, for example, that Nathaniel, the archetypal American, turns out to be the British actor Daniel Day Lewis, who manages somehow to look pretty authentic in the costume of a backwoodsman. Mann handles the Native Americans differently as well, nodding appreciatively towards their value system but excluding them from real relevance. Interestingly, the film was released in the same year that marked the 500th anniversary of Columbus’ first voyage, which caused it to be charged in some circles with “cultural imperialism.” That’s a matter we will almost certainly discuss in class. What also seems reasonably certain is that Mann tries strenuously to reduce the political concerns of the novel and replace them with a love story. But as with other purveyors of western myth, the love story has an added dimension. We are really being invited to fall in love with the American west.

一 摩和克人 Mohawk

        亦译莫霍克人。

    操易洛魁语的北美印第安部落，是易洛魁联盟(Iroquois League)最东部的成员，拥有3个村落，位于今纽约州斯克奈塔第(Schenectady)以西地区。

     摩和克人同其他易洛魁部落一样，是半定居的。妇女务农，种植玉蜀黍，男人则秋冬狩猎，夏季捕鱼。互有亲属关系的几个家庭居住一间长房，这是易洛魁社会的象徵。根据传说，摩和克领袖海华沙(Hiawatha)是第一个接受和平先知德坎纳维达(Dekanawida)所传播的和平诸原则的，後者是易洛魁联盟的首倡者。

     摩和克人在联盟中拥有9名代表，由龟氏族、狼氏放及熊氏族各出3名。每个摩和克人的村社还有地方议事会，指导村长的工作。摩和克人经常与其邻近阿尔冈昆诸部落作战。自从荷兰人用火器换取海貍皮以进行贸易之後，更增加了摩和克人胜利的次数。但同欧洲人接触之後，其人口亦形锐减。20世纪晚期，摩和克人总数约5,000人。

     摩和克人是轩辕氏直系后代这是根据摩和克部落保存着轩辕氏族徽来断定的。《轩辕黄帝礼天祈年图》上，那位华北男子腹部是龟甲，代表天的神是一只大龟（天鼋），它的四周有28颗星——显然是二十八宿。这都是图腾崇拜的生动记录。


二 奥奈达人 Oneida
 
         亦译奥内达人。

     操易洛魁语的北美印第安部落，位于今纽约州中部，是易洛魁联盟(Iroquois League)原有5民族之一。营半定居生活，种植玉米，住长形房屋，各个家庭按照母系互有亲属关系，分为3个氏族，各有3名代表参加联盟。每一社区也有一地方性会议，指导首领的工作。

     奥奈达人是联盟中人口最少的一个部落，17世纪时，只有一个设栅城镇，拥有60∼100个长形房屋，城镇於1696年遭到一支法国-加拿大远征队的破坏。此後，这个社区分为奥奈达人住区(上卡斯尔〔Upper Castle〕)和坎纳瓦罗基尔人(Canawaroghere)住区。18世纪初，北卡罗来纳图斯卡罗拉人(Tuscarora)的一个村庄同奥奈达人联合，成为易洛魁联盟中的第六个民族。20世纪晚期，奥奈达後裔约有3,000人，其主要集中地是加拿大和美国的威斯康辛州、纽约州中部等地。

三 奥农达加人 Onondaga

        操易洛魁语的北美印第安人，住在今纽约州。村落由木材和树皮构筑的长形房屋组成。根据季节移动，或移於新种菜园之旁，或移往捡取薪材之所，或移近渔、猎地区。种植玉蜀黍、豆类、南瓜、向日葵及烟草。各村社由男丁会议指导村长。17世纪时约有1,700人。奥农达加部落原为易洛魁五民族之一，也是联盟的政治、地理中心(参阅易洛魁联盟〔Iroquois League〕条)。在联盟议会中有14名代表，其中包括联盟主席和档案管理人员各1名，後者专门负责保管各项交易纪录。20世纪晚期在纽约州保留地约有1,000馀人。

四 卡尤加人 Cayuga

       操易洛魁语的北美印第安人，易洛魁联盟成员，原住卡尤加湖附近地区，即今纽约州中部。卡尤加男人猎捕本地区丰富的猎物、水禽、鱼类，女人种植玉蜀黍。村庄由多家居住的长形房屋组成，每一房屋由若干有亲属关系的家庭居住。1656年法国耶稣会士梅纳尔(Rene Menard)第一次遇到卡尤加人，当时他们的城镇坐落于湖东地区，湖在塞内卡(Seneca)河以南沼泽地带之北，约有1,500人居住在约100间长房里。地区议事会由8个族外婚氏族的代表组成，指导各村村长。每一氏族又分为两个半偶族，大体上负责葬仪及狩猎仪式。

     卡尤加人的全部历史过程，就是一个混合民族的历史。当他们在安大略湖以北设置了临时居民点时，曾将休伦人和伊利人俘虏收容进来，以补充其战争损失。17世纪晚期，他们又从附近的南部和西部地区吸收了许多操苏语(Siouan)和阿尔冈昆语(Algonkian)的宗族。20世纪晚期，在印第安六民族居留地上，约有1,500名卡尤加人的後裔，延续了这个部落的语言和礼仪。另有约200名卡尤加人住在纽约州西部塞内卡民族当中，100名居住在奥克拉荷马州。
 
     半偶族指把一个社会按照血统分成两半，其中的每一半就叫一个半偶族。即整个社会划分为两个单系继嗣群时，我们就把每个群体称之为半偶族。半偶族的成员相信他们自己共有一个共同祖先，但却不能通过明确的关系来证明这个祖先的存在，也就是无法具体说明怎样追溯出来的。

五 瑟内萨人


六 塔斯卡洛拉族人

    一支美洲印第安人，曾居住于北卡罗来纳州，今天居住在纽约州西部和加拿大的安大略省的东南部。塔斯卡洛拉人在18世纪向北适移，于1722年加入了易洛魁联盟并接受了易洛魁文化的许多方面

干瘪的历史，片子开头很快就说完了。
片子的战斗基本都是慢动作，片子我是冲着那些推荐狙击手的电影文章来的，看封面还以为很劲爆，失望至极点。
片子两个女儿很漂亮，还有男主那句“无论多久，无论多远，我都会找到你”，很动人。原来很快就跑去和族长理论去了。
片子没啥节奏，也没啥张弛，没亮点，一杯白开水。不过对英国和法国打仗那些礼仪倒是见识了，真的很绅士！
看豆瓣一面倒的推捧，看来我绝对是二逼青年了，文艺路踩不上腿。