Thomas Cole, Cora Kneeling at the Feet of Tamenund, 1827

IN ITS Sunday afternoon “teatime” series in the 1970s, the BBC produced serial versions of classic novels and these were then shown on Masterpiece Theater in this country as wholesome entertainment that could be viewed by all ages. Among the best was the 1971 version of James Fenimore Cooper’s 1826 novel The Last of the Mohicans, the famous story of the American frontier set during the French and Indian War, when France and Britain fought for control of the American wilderness and recruited American Indians as their allies.

The TV series included eight 45-minute episodes. (Technically then, this isn’t a movie night, but many evenings.) They can be purchased today in DVD form on Amazon or viewed in their entirety on Youtube.

Other film versions of this renowned novel have apparently turned it into an action thriller, which it definitely is, but it’s not only that. This series is more true to the novel, a penetrating tale of human conflict and aspirations with romance, war, betrayal, loyalty, race, death, political intrigue, the ravishing beauty of the wilderness — and thrilling adventure. This is a tale of European fighting European, of Indian warring Indian, of confused allegiances and of heart striving for heart. The characters include both the British and French commanders, other military figures, the daughters of the British leader, a British wilderness scout and Indian allies and enemies.

This low-budget production was directed by David Maloney, of Dr. Who fame, and produced by John McRae. Harry Green was the writer who brilliantly adapted the novel to the screen. It was shot in the studio and the Scottish highlands, which serve as a beautiful stand-in for the hills and mountains of the Adirondacks in upstate New York where the novel is set, parts of which are almost a wilderness to this very day, though now devoid of those warring tribes. You can go there and almost see the scenes of the book unfold before you.

Viewers accustomed to more sophisticated visuals may definitely find this version slow-moving, clumsy and somewhat campy. But they would probably agree that the acting is superb and though this is not a dazzling spectacle, it is a riveting teleplay, as true as film can be to great literature. The dialogue and characters provide a sensitive portrayal of the lives of both colonists and the Indians.

Particularly outstanding among the actors is Philip Madoc, who plays the Huron scout, Magua. The actor communicates Cooper’s complex mixture of dignity, strength and ruthless cunning. In the story, Magua is plotting revenge against the British commander, Colonel Munro, whom he accuses of giving him hard liquor and making him drunk, leading to punishment and exile from the Hurons. Magua also despises Munro for later whipping him at a post. He is determined to recover his pride and wants the colonel’s daughter as his squaw. Here is a man ready to fight for his people to the end. Not a nice guy, but there is awe-inspiring nobility in his strength and stubbornness.

All of the actors are British; those playing the Indian characters are slathered with skin bronzer — clearly an offense by today’s standards, but the costumes (or, in the case, of the natives, lack of costumes) are so authentic, it doesn’t seem fake. And the actors so vividly convey the humanity and individuality of the Indian characters, can they really be accused of political crimes? Besides, the politically correct will not be entirely scandalized by this production, as Green has Munro boast of Cora’s deceased non-white mother. And Uncas’s attraction to Cora, and her openness to him, are movingly portrayed.

Kenneth Ives plays Hawkeye, the scout for the British who travels through the backwoods with his two Mohican friends, Chingachgook (John Abineri) and his son Uncas, (Richard Warwick.) He may be dull for those who have seen Daniel Day-Lewis in the part (I haven’t so I don’t know which is better.) Still, he comes through with an equal measure of roughness and honor. The friendship between the scout and his Indian allies is beautifully captured; we see a white man who is sincerely loved and loves in return. These are not cardboard characters.

This is a novel of masculine men and feminine women, strong in their complementary ways. Patricia Maynard and Joanna David play Cora and Alice Munro, respectively, daughters of the British Colonel Munro, who leave England to seek their father,  holed up in Fort William Henry. These are women not afraid to venture into the wilderness. The director and actresses are able to preserve the highly-civilized decorum and kindness to all of the book’s characters. These heroines are gems, so lovely and strong. The actor Andrew Crawford, who plays Munro, does not fully convey the deep attachment of the novel’s character to his daughters and his grief at the eventual tragedy of Cora.

This would be a good series for homeschoolers to watch before or after studying the novel. These are truly great performances — and the haunting theme song by Dudley Simpson, featuring only a flute and percussion movingly opens and concludes each of these wonderful episodes.

The Last of the Mohicans is a story of racial conquest told by Cooper with enormous sympathy for the defeated and with none of today’s brutal contempt for the ‘paleface.’ In light of current events, some may find this television adaptation all too painfully real.

Please follow and like us: