SpuffyWeb Sadly Over-hyped

Fairaher The film makes a home in your brain and the only cure is to see it again.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Portia Hilton Blistering performances.

Robert J. Maxwell Robert Taylor began his career at MGM as a handsome young lead with an eager smile in the mid 30s. Somewhere along the time line, during the war years, as he lost his youthful looks, he came to appear stern and not particularly sympathetic. At the same time his acting because routinized, automatic, giving a performance for him became like driving a car is for us. You don't put any thought into it. This didn't keep his studio from casting him in semi-historical costume movies. Whether or not he could act, at least he didn't get in the way of the scenery. Nor did he appear to seek out more dramatic roles that might be more in keeping with his appearance and demeanor. He and MGM were satisfied enough.Then, here, in 1956, during his mature period, comes this movie, "The Last Hunt," in which Taylor plays probably his most complex character role and gives it everything he's got, mixing meanness and pathos. I give it a bonus point for that alone. It's almost amusing to see the man criticized for overacting. Think about it. Robert TAYLOR? OverACTING? He usually has all the verve of a mechanical man in a circus side show. To accuse him of overacting is like accusing a clam of having moved. It's a Western about professional buffalo hunters in 1883. The big herds are thinning out. Taylor is still bent on shooting as many buffalo as he can, while his partner, Stewart Granger, has become a reluctant companion. The killing that the two friends have seen in the Civil War has changed them, but in different ways. It's sickened Granger, while Taylor has found that he rather likes it.On the eponymous final hunt, they pick up a young Indian boy (Russ Tamblyn) and an experienced old buffalo skinner (Lloyd Nolan). A skirmish with some Indians, whom Taylor happily shoots, gets Taylor a beautiful Indian woman to keep him warm at night (Debra Paget).The movie is sensitive to hunters pretty much having wiped out the buffalo. (It's a little like A. B. Guthrie's novel, "The Big Sky.") And it shows respect for the Sioux and their religion. But except for one or two sentences, it's not preachy, so it would be a mistake to code this as some tender-minded revisionist tract. For what it's worth, the high plains tribes I've lived with still revere the buffalo. They used every single part of every animal they were able to kill. As one Blackfeet man put it, "they were a supermarket." At any rate, Taylor's performance is the key to the movie, and it's quite good. His character follows a trajectory similar to that of Fred C. Dobbs in "The Treasure of the Sierra Madre", although Taylor is no Bogart, nor does this script have nearly the same quality. But Taylor is friendly enough at the beginning. Oh, a little insensitive to others, but cheerfully optimistic, and loyal to his pal Granger. But then he becomes mercurial. By the end, he's a madman, mistaking the rumble of distant thunder for a hundred thousand buffalo. That final shot of Taylor, wrapped in a frozen buffalo hide, his face a grotesque mask coated with ice, is memorable.The shooting, alas, is often studio bound. Speech made around the camp fire seems to echo slightly. It's cold but no one's breath steams. It's good to see the manly Stewart Granger as something other than the alpha male. He's not as fast with a gun as Taylor. Nobody is. Granger is given one good scene, as a sad, truculent drunk in a cat house, and he pulls it off well. The fist fight isn't played for laughs. Constance Ford is the whore who administers some superficial comfort to the drunken Granger but he shrugs her off and leaves. Angry, she shouts after him, "What do you think, I have a heart of gold?" (Nice touch.)Nice job, but sad too. Taylor, and people with his tragic flaws, have left us all a little worse off than we might have been.

alexroggero I just watched this movie, by mistake. What a little gem. This film made in 1956 looks, and feels, like a late Seventies movie. And is in fact better, more restrained and correct than, say, Blue Soldier. The environmental, anthropological undertones are way ahead of its time. The understated cinematography is superb and terribly realistic. Much more than Dances with Wolves, The Last Hunt manages to convey the look and feel of the buffalo "killing fields" of the late 1800s. Probably because those in the movie were real killing fields. The movie was shot during legal forestry directed buffalo culls, so the animals you see are really being shot, the bones are real. In conclusion, a very under-rated western masterpiece, superbly acted, directed and shot.

MartinHafer This movie is a real mixed bag. In some ways, it's quite intelligent and moving but in other ways the film really misses the mark and could have used a re-write.First, I admire that the film deals with the senseless slaughter of millions of buffalo in the 19th century. This was such a waste and was a topic worthy of making a film about--but the filmmakers also gave a very mixed message. While the impact on the Indians (mass starvation) and waste of life was portrayed, the prologue also said that the massacre was the result of Whites AND Indians!! This is ridiculous, as the Indians killed buffalo as needed and their impact on the buffalo population was limited--playing moral equivalence was ludicrous! I am certainly no politically correct zombie, but this assertion was stupid. Additionally, many of the buffalo that were killed in the film really were being killed! As a Department of the Interior management decision to thin the remaining herds, this thinning was filmed and the animals that died in the film really did die--something that may make PETA-types cringe or become sick--so be forewarned!! Second, I liked the counter-point of having a man who is sick of the slaughter (Stewart Granger) and the blood-lust of of his partner (Robert Taylor). However, while this juxtaposition is interesting and brought the point home well, it didn't make sense when you think about it. After all, if Granger had enough of the killing, then why did he spend so much time in the film killing?! Plus, Robert Taylor's character was so over-the-top and ludicrously unbelievable that the whole partnership seemed impossible and dumb.Now there were also several things I did like about the movie. First, I was surprised how effective Stewart Granger was as a Buffalo Bill-type man. He had no trace of his native British accent and was amazingly good. Second, the very end of the film was handled deftly--how the final showdown went down was really great. Third, it was nice to once see that a typical Western cliché is absent. In this film, there is no "hooker with a heart of gold"! Instead, she's kind of ugly and mean and is purely in it for the money! Fourth, When Granger is involved in a bar fight, the song "Yellow Rose of Texas" plays during this battle and is very, very similar to the final climax in GIANT--and I think this was intentional, as both films came out in 1956.So overall, this is a mixed bag--full of great ideas but poorly executed as well. As a result, it's interesting but quite skip-able.

alexandre michel liberman (tmwest) Robert Taylor as the mad buffalo hunter Charlie Gilson is the main character in this film. At the beginning I was thinking that Charlie would end up redeeming himself like John Wayne in The Searchers or James Stewart in The Naked Spur. But as the film goes along Gilson keeps doing more atrocities until you realize there is no hope for him. Stewart Granger is Sandy McKenzie, who wants to stop hunting because he realizes that the buffaloes will soon be gone and he becomes disgusted by the act of killing. Gilson is a natural killer who makes no distinction between animals or human beings. Debra Paget as the Indian girl is a surprising character considering the self imposed censorship of that time. She lies with Gilson in total resignation even though she hates him. The last scene of a frozen Gilson, is unforgettable.