Movie Monday: "Last of the Mohicans" a film by Michael Mann, 1992

Last of the Mohicans (1992) a film by Michael Mann

I’ve held on to this film in DVD format for several reasons. Firstly, it is a good film that showcases quality actors and quality script that stands the test of time. Secondly, the price. $5 at a big box store. This historic drama tells the story of a quickly disappearing way of life, as two cultural worldviews come into conflict and inevitably arrive at an endgame where one side wins, and one side loses. Daniel Day Lewis plays the main protagonist, Hawkeye, an adopted white man frontiersman based on novelist Cooper’s character Natty Bumppo. His adopted father Chingachgook, played by Russell Means, who did not start his acting career until he was in his 50’s. Wes Studi portrays Magua, enemy of Colonel Munro (John Maurice Roëves) and a main antagonist of the film. The casting embraces diversity with sensitivity towards actors of indigenous ethnicity.

The opening shows Hawkeye (Lewis) stalking a buck with his adopted father (Means) and brother, Uncas (Eric Schweig). After their successful hunt, they thank the spirit of the animal and thank him for giving up his life for their benefit. They hunt and trap for their sustenance, trading with the Dutch for silver, as opposed to the British and French custom of trading in “wampum and whiskey.” Their frontier world comes to an end with the war between Britain and France impacting their settler neighbors and friends, the Camerons, who participate in the colonial militia in defense of their homes and in (nominal) support of the British Crown. When the need to protect their homes from war parties conflicts with the needs of the British military, the militia and fort commander Munro come into conflict as to which needs are more important.

The emotional impact of the film is reflective of Mann’s style of film-making. As a director, he portrays the emotional side of the story and the human element in subtle, but engaging, ways. The source material, he said, was a wealth of information but not the be all for his inspiration.

"It's not a very good book," Mann said of Cooper’s original novel. He mentioned the novel comes from a landholding perspective, and “is almost a justification for a massive land grab…that the Euro-Americans will be a better steward of the riches that God bestowed upon American Indians. And that, of course, was not the perspective of American Indians. So the revision of history was one of the things I didn't care for in the novel.” This reflects the times, when many investors saw stewardship of the American continent as justification for their increasingly harsh treatment of indigenous Native American groups.

While the story is historic fiction, Mann captures existential human conflicts that many viewers can relate to. Duty to a greater cause vs freedoms and liberties, self-interest and the honor of the ethnic group are among a couple of the qualities explored in this film.

Overall, this is a capable film that succeeds in drawing the viewer into the characters. While a few scenes seem forced, or the dialogue a little stale, it does not greatly detract from the quality of the film and the actors. Daniel Day Lewis famously only ate what he killed, and learned the skills of a frontiersman to give a more capable performance as Hawkeye. Viewers will appreciate such attention to detail, even though it sometimes teeters on the cliche “white man saves the minority” narrative that comes with such films and Dances with Wolves or Avatar.

Purchase or Stream "Last of the Mohicans" via Amazon

History Notes:

Native American cooperative relationships with European powers
Nathaniel Poe's role as central or peripheral to events
Source material of the original novel and the 1992 film
historical fiction vs factual information

Movie Monday: "John Adams" an HBO series by Tom Hooper

On the recommendation of history colleagues, I found a copy of the HBO Series “John Adams” at the local library, and I’m not disappointed. This historical drama follows the career and presidency of Founding Father John Adams, including his participation in the American Revolution and his activities in foreign arenas like France and Britain during the establishment of the American Government. This series doesn’t avoid the darker aspects of Adams’ experience, and seems to give a balanced view of his life.

Like many HBO series, the acting is on point. Lead Paul Giamatti brings this John Adams to life and reflects his educational background in theater and broadway. David Morse towers over the other characters as bigger-than-life General and President George Washington, and gives a subdued performance as the first leader of the new government. Laura Linney is an excellent Abigail Adams, giving life to the famous first Second Lady and second First Lady of the United States.

As the series opens, Adams (Giamatti) is a successful lawyer in Boston, with wife Abigail (Linney) and children John Quincy, Abigail and Charles. The cries of “Fire! Fire!” echo through his home as British soldiers fire upon a crowd of protesters to Britain’s overreaching influence in the colonies. Adams is the only lawyer in Boston willing to take the case, which opens him up to attacks and criticisms from his patriotic neighbors.

The benefit of a series such as “John Adams” is how human our founding heroes become when treated in a balanced manner. Putting aside the romanticism surrounding the founding of the United States, a student of history will appreciate the nuanced treatment. Additionally, the series does not marginalize the other key members among Founding Fathers (and Mothers), which can sometimes happen when a series focuses on one particular subject, or minimize their influence on the main character. The humanity present in this series brings the founding members down to a relatable level, in particular the balance between work and life, family, religion, and the fundamental principles of the United States.

What I found most instructive is how contentious the developing government of the United States was during the first few years. Every member had their own interests and concepts of who held what power, and the extent of that power over the individual states. As a newer student of early American history, I found these insights informative for future study. Additionally, the sheer weight of what was before the Revolutionary leadership, founding a new country, is not lost on the artists who changed the characters’ appearance based on circumstances. The various epidemics that swept the New England territories, coupled with the stress, play out on the faces of the actors throughout the series.

A viewer hoping to bolster their patriotic feelings will likely feel kinship towards the characters in this historical drama. Students of history will appreciate the perspectives of the film, and the contentious nature as more reflective of reality than the simple founding myths many of us grew up on. There is very little to fault in this series, from my perspective, as there was clearly enough financial support to give “John Adams” a suitable treatment.

Purchase or stream "John Adams" through Amazon

History Notes:

The differences between fact and fiction in historical drama (see historical inaccuracies)

Religion and political backgrounds of the Founding Fathers and others

Family life of John Adams

David McCullough's book "John Adams," inspiration for this HBO series

Movie Monday: "The Patriot," a film by Roland Emmerich

“The Patriot” is one of those films that might spark interest in American History for some, but eventually turn those same historians off for its portrayal of the American Revolution. At its core, “The Patriot” is both a war film and a historical drama about a war veteran who is once again called to sacrifice his peace for a greater cause. His response to the casualties of war sets up the tension that builds and releases throughout the film. The production values are rather good, something that is expected for a mainstream film with a leading actor like Mel Gibson. While not on the same level as Gibson’s earlier “Braveheart” in popularity, “The Patriot” does showcase Gibson’s ability to play a tortured and sacrificial character who gives up much for a greater purpose. While Gibson is inevitably the star of the show, Heath Ledger puts in a strong performance as Gibson’s son, Gabriel Martin. Gabriel is eager to join the Continental Army and fight for “the Cause,” while his father is much more tempered against jumping back into war. Jason Isaacs provides a convincing performance as the “bad guy” British Colonel William Tavington, who embodies much of what a man will do during war. Tom Wilkinson is Lieutenant General Charles, Lord Cornwallis, a military genius and tactician who nonetheless falls victim to his preconceived notions against militia and their capabilities. There are a few understated performances by both supporting actors Donal Logue and Joely Richardson as militiaman Dan Scott and Martin’s sister-in-law Charlotte Selton, as well.

When the film opens, Benjamin Martin (Gibson) lives an idyllic life on his farm in 1776 South Carolina, working diligently in his workshop, attempting to make a working rocking chair (a task he’s obviously failed at several times, judging from the pile of scrap). He is a widower, but he capably raises his children with the help of African American servants and laborers. This peace is shattered when an Assembly in Charles Town is called to debate the cause of Revolution. There are Loyalists among the Assembly, but the majority supports fighting against the British, much to the apprehension of Martin, who saw action in the North American theater of the Seven Year’s War. His two elder sons, particularly Gabriel Martin (Ledger), are eager to support the fight, feeling it is a man’s duty to fight for his home and principles. The first show of British brutality involves an interaction between Martin’s second eldest son, Thomas, and the British Colonel Tavington (Isaacs), and sets up the goal for Martin throughout the film.

Viewers are inevitably going to be entertained by this film’s classic hero’s journey model, which follows the formula of heroic hardship and resolution through growth to a T. The biggest issue history buffs will have is the rather simplistic representation of the Americans as “good” and the British as “bad,” a dichotomy which almost never exists as cleanly as is portrayed. When portraying a nation-state’s founding myth, however, it is often popular to show the founders as heroic patriots. Another interesting aspect is the portrayal of African American participation in the Revolutionary War, particularly in a fighting context. It may surprise some viewers to know that African Americans were promised the opportunity of freedom, as well as bounties in some cases, for participation in the Revolution, both on the Loyalist and the Patriot sides. Often these African American soldiers were also integrated into existing units, either regular Continental Army units or state militia units. While not portrayed in the film, African Americans also participated heavily into naval operations on both sides of the war.

Overall, this film does successfully portray one narrative that will entertain and, for some, build emotional response to the battle for the United States. The history is very thin here, as Martin is a composite character with no direct analog in history. The simplistic characterization of Americans as good and British as bad will put some off, particularly historians and history buffs familiar with the complexities of the historical narrative. The production itself is obviously well-funded, and the performances of the lead and many supporting actors was strong and capable, leading to a rather successful film, overall.

Final verdict: 3.5/5 for strong lead performances, good production values, but a lack of serious scholarship and a simplistic portrayal of the two combatant sides.

Purchase or stream "The Patriot" on Amazon.

History Notes:

The true motivations of both Patriot and British combatants
Ethnic relationships: African Americans in War
Military tactics and acceptable responses to captured soldiers on both sides
Idyllic portrayal of 1776 South Carolina, tied to ethnic relationships

Movie Monday: "Picture Bride," a film by Kayo Hatta

Wikimedia Collection

Hatta, Kayo. "Picture Bride," starring Kido Yuki, Takayama Akira, and Tamlyn Tomita, 1995.

It was by chance I happened upon “Picture Bride” at the library and was moved to rent it. A riveting historical drama, "Picture Bride" depicts the life of a young Japanese immigrant woman working on the sugar cane fields in Hawaii during the early 1900s. It shows how both characters used deception to improve their chances of sealing the arranged marriage. Photography innovated the “picture bride” system that initially relied on written letters alone or face-to-face meetings. 

This film provides a solid script for strong performances that make the film particularly moving. Lead actress Kudo Yuki gives picture bride Riyo the emotional expressions that capture the apprehension and exhaustion a newly arrived city girl experiences under field conditions. Actor Takayama Akira ably expresses the hard life and defeatist mentality many bachelor field hands experienced under the Gentleman's Agreement of 1907 and prejudicial labor relationships. Finally, Tamlyn Tomita supports the leads with her capable performance as a strong young picture bride who must take on the roles of mother and mentor. One important aspect is that the cast are all capable Japanese and Japanese-American actors, a novel circumstance given the recent controversial casting choices in 2015 Hollywood.

When Riyo (Kudo) first arrives at the immigration office on the shores of the territory of Hawaii, she meets her husband for the first time, a field hand (Takayama) almost two decades her senior. This fact, not shown in the youthful photo he sent, sets up tensions from the start. The various hardships the two newlyweds face include prejudicial ethnic conflict with white overseers, labor conflicts with fellow Filipino field hands, as well as the appeal of gambling as a downtime activity. Couple this with the relationship built on lies and the film contains plenty of tension and conflict. The challenges these characters face will illuminate an almost forgotten historical exchange network that greatly disrupted immigration to the United States.

One of the strongest aspects of this film is the human element that makes it so relatable to a variety of viewers. Many of us can relate to the class challenges of trying to get ahead in a tough work and social environment, particularly when it seems like the paychecks are never quite enough. Viewers may relate with the ethnic conflicts that plague both historic societies and today. For me, this film made me realize how blessed I am in my own life, particularly the great physical toil these characters face each and everyday, and how they manage to find positives.

Overall, this film is a great peek into the historic condition of “picture brides” under the Gentleman's Agreement of 1907. Not only does it depict the ethnic conflicts Filipinos and Japanese field workers faced, but also the different ethnic hierarchies that native Hawaiians felt in relation to the Anglo landowners and European (Portuguese) overseers. While the film does slip into too much pathos at times, the narrative does manage to express an accurate depiction, perhaps less intense than some authentic experiences, of Japanese immigrants under an inherently prejudicial legal and social system. If you’re a fan of historical dramas, this may be the film for you. Please post comments or suggestions below, and what films you'd like to see reviewed in future posts.

Purchase "Picture Bride" or stream via Netflix here.

Historical Notes for discussion in the comments:

• The “picture bride” system for skirting the Gentleman's Agreement of 1907.

• Ethnic interrelationships and labor: Anglo and Euro owners vs. laboring minority; labor vs labor between Filipinos and Japanese

• Labor conflicts, the company store, $1 fee for lack of work, $. 65/day and $300 to go back to Japan

• Bachelor Societies: both Chinese and Japanese, Filipino immigrant men

• Aspire to be Rudolph Valentino, but Japanese actor Sessue Hayakawa came beforehand, but not in the dominant history

• Asian, mainly Japanese and Filipino actors cast in the film, Japanese language used instead of English (think Sayuri/Memoirs of a Geisha)