量子
缺集或无法播，更换其他线路.优质
缺集或无法播，更换其他线路.红牛
缺集或无法播，更换其他线路.非凡
缺集或无法播，更换其他线路.剧照
剧情介绍
最后的莫希干人电影免费高清在线观看全集。
本片改编自美国作家库柏“皮袜子”系列小说中的第二部。1757年七年战争期间，英法两军在北美殖民地激战正酣。军官邓肯带队护送长官之女可娜（Madeleine Stowe 饰）前往威廉亨利堡，半路遭法属印第安人埋伏，莫希干族最后的战士——金卡加（Russell Means 饰）、安卡斯父子与白人霍克依（Daniel Day-Lewis 饰）出手相救。但抵达要塞时他们发现这里已陷入战火，要塞长官门罗与邓肯做事强硬，不肯放走民兵自降战力，并将霍克依监禁，可娜这时已同霍克依相恋，但却无力援救。英军战事不利弃堡投降，印第安人马瓜带领族人向英军寻仇，可娜与霍克依失散后被马瓜带走，霍克依、金卡加、安卡斯一行进入马瓜族人的营地，以期带回可娜太空狗：热带冒险罪恶部队回村的诱惑贵妇失踪记猿王这里好无聊，快来接我千秋家国梦独角兽2017新超人 第一季大雪海的凯纳我的仨妈俩爸巴黎警局1900第一季青春变形记姻缘大人请留步BORDER哪吒大闹天宫倔爹犟丫头控局者入侵者向往的生活2018罪恶黑名单第四季长剑风云凶逃不可思议的爱情速看版婚姻历险记极限17扣杀眠狂四郎人肌蜘蛛逃避虽可耻但有用新春特别篇我家有一隻河東獅主播流浪记机甲拳击双重危机冰人风流家族你丫闭嘴国语急速反击超能鲨竞争对手城市飙女眩晕魅力四射：战斗到最后一刻新笑林小子之我最棒
本片改编自美国作家库柏“皮袜子”系列小说中的第二部。1757年七年战争期间，英法两军在北美殖民地激战正酣。军官邓肯带队护送长官之女可娜（Madeleine Stowe 饰）前往威廉亨利堡，半路遭法属印第安人埋伏，莫希干族最后的战士——金卡加（Russell Means 饰）、安卡斯父子与白人霍克依（Daniel Day-Lewis 饰）出手相救。但抵达要塞时他们发现这里已陷入战火，要塞长官门罗与邓肯做事强硬，不肯放走民兵自降战力，并将霍克依监禁，可娜这时已同霍克依相恋，但却无力援救。英军战事不利弃堡投降，印第安人马瓜带领族人向英军寻仇，可娜与霍克依失散后被马瓜带走，霍克依、金卡加、安卡斯一行进入马瓜族人的营地，以期带回可娜太空狗：热带冒险罪恶部队回村的诱惑贵妇失踪记猿王这里好无聊，快来接我千秋家国梦独角兽2017新超人 第一季大雪海的凯纳我的仨妈俩爸巴黎警局1900第一季青春变形记姻缘大人请留步BORDER哪吒大闹天宫倔爹犟丫头控局者入侵者向往的生活2018罪恶黑名单第四季长剑风云凶逃不可思议的爱情速看版婚姻历险记极限17扣杀眠狂四郎人肌蜘蛛逃避虽可耻但有用新春特别篇我家有一隻河東獅主播流浪记机甲拳击双重危机冰人风流家族你丫闭嘴国语急速反击超能鲨竞争对手城市飙女眩晕魅力四射：战斗到最后一刻新笑林小子之我最棒
长篇影评
1 ) 《最后的莫希干人》
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所有的战争都是为了满足少部分人的贪欲 什么为了土地 国家 自由 还有那个的荣誉而成为他们的欲望工具。你只要保护好你要保护的东西就好了，如果要打仗 为什么发起打仗的人不自行解决，如果为了自由？可我们本来就身在囚禁之下，什么最重要？如果生命和金钱放在你面前，所有每个个体都会选生命，但是国家会选择金钱
所有的战争都是为了满足少部分人的贪欲 什么为了土地 国家 自由 还有那个的荣誉而成为他们的欲望工具。你只要保护好你要保护的东西就好了，如果要打仗 为什么发起打仗的人不自行解决，如果为了自由？可我们本来就身在囚禁之下，什么最重要？如果生命和金钱放在你面前，所有每个个体都会选生命，但是国家会选择金钱
2 ) 老师给的资料
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.
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.
3 ) 仅仅因为OST……
很久以前看过电影后把原著买来摆在书架上却一直没有动过，可能也正像电影给我的感受一样，结合了战争、殖民、种族、爱情等诸多“大片”要素却最终落脚成一部简单的历史动作片，没有太多值得回味的地方（配乐除外）；其实不到两小时的片长就很能说明问题，加之人物性格刻画太过简单，剧情也谈不上怎样跌宕。Alice跳崖的场景很经典很凄美，最后一幕三人站在悬崖边凝视远方、金加克的独白也颇为悲壮慨然，可惜这也几乎是电影的全部了。
PS不过仅从配乐角度，这绝对是任何一个电影爱好者都不能错过的影片。
PS不过仅从配乐角度，这绝对是任何一个电影爱好者都不能错过的影片。
4 ) 完全不知道哪里好看？除了女人
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。
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。
5 ) 印第安五大族
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
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
6 ) 战争史诗的幌子，平庸爱情的里子。
电影一开场是印第安人土著在丛林间狩猎，猎物倒地，印第安人虔诚地为其哀悼。电影结束时是金卡加以莫希干族最后战士的身份悼念死去的儿子，“伟大的圣灵和创造生命的主，一位战士就像射入烈日的箭，射向您了，欢迎他吧…”但是印第安人土著与英法殖民者的矛盾、“文明”与“野蛮”的矛盾、生命与自然的敬畏、战争的惨烈都不是电影所表现的主题，电影只是搭建了一个1757年北美英法殖民战争的舞台，用以烘托白裔土著与殖民军官千金之间英雄救美、美人倾心的普通爱情故事罢了。
电影在前半段铺设背景时大气磅礴，一场信仰与生命的史诗革命仿佛即将开始，英法殖民者在印第安人土著的家园之上开战厮杀、称雄割据，各土著族群也以自愿或被哄骗的方式各为其主，以雇佣民兵的身份相互厮杀。被殖民者印第安土著个人家族的生死与殖民者英法帝国的利益之间是永远无法弥合的文明伤痕，英国殖民者与法国殖民者之间战火纷飞、你死我亡。英勇矫健的主角霍克依出场宛如印第安人的英雄，一句“我们不是你们的殖民，自然也不是你们的民兵”似乎也是反抗斗争的前兆，身为白种人却是被印第安人以土著方式收养大的经历更是曾加了一层身份认同的戏剧悲歌，但是电影让霍克依完成的使命却只是保护殖民军官女儿们的安全！炮火轰天的战斗也随着英法两方简单客套的谈判礼仪戛然而止！
电影与其叫“最后的莫希干人”，不如叫“可娜与爱丽丝的美洲爱情之旅”。电影中的两个莫希干人——金卡加和儿子欧卡斯出场、对白寥寥，不过是两个跟着霍克依的帮手角色。至于主线，电影的前半段剧情是如何安全护送可娜和爱丽丝两位小姐到她们父亲处，后半段剧情是如何保证可娜和爱丽丝两位小姐安全逃脱马瓜坏人的魔掌。
霍克依与可娜两人一见钟情、二见倾心，简单的暧昧过后就到了一吻情深、生死不离的地步，可以说是简单直接、热烈似火，但两人的相处似乎缺少了细节铺垫与刻画，恋情显得模糊而随意。其次，两人的恋情的阻碍只是简单的外在冲突，更多的是时间匆忙、无法相守，两个人似乎一直处在奔走逃离的状况中，两个主角内心情绪刻画的缺乏使得这份感情浮于表面，无法直抵人心。外在战争与生死的动荡没有内化为内心情感的激荡，也就无法让人印象深刻。
战争年代的旷世奇恋并不是不存在，以爱情作为电影的主要基调并不是不能创作出优秀的电影，只是这部电影的爱情过分简单平庸，细节刻画让位给了战争，最终导致的结果是战争不深刻、爱情不动人，不伦不类，失望乏味。最初的电影是3个小时，但福克斯要求导演把电影剪短至2个小时，其中消失的部分不知道可不可以弥补现在的遗憾。
"You stay alive, no matter what occurs! I will fing you! No matter how long it takes, no matter how far! I will find you!.." The world’s on fire. It's so nice to see you.
20年前92年的老片了，现在看来还是不错的，依然是战争史诗背景下的爱情故事的套路，不过还算讲的流畅，只是男主角成了个莫希干化了的白种人，有点减弱力度，可能是为了票房的原因。配乐豪迈悲怆，非常值得一听，OST可以找来欣赏。
音乐很有气势，不过剧情实在是一般。放在九二年看，应该是杰作，只可惜现在是看惯了各种各样类型大制作的2008年……总是感觉在里面能找到这部那部电影的影子，实际上应该是那些电影在一定程度上模仿它，但，还是怪我看它的时间不凑巧吧……不过话说回来，丹尼尔戴刘易斯在里面还真是有型啊~夕阳下他微笑着说的那声“You”，敢问哪个女人的心不会因此而融化啊……
2小时，除了大气磅礴的音乐，还可以看到不同的人对于战斗荣誉和仇恨不同的理解认识以及由此产生的不同行为。人类的历史是血腥而残忍的，只有相信和坚持某一些东西，才能使人变得更像个人，而不是最聪明的禽兽。
【A－】迈克尔·曼绝不仅仅只是擅长拍夜戏的导演，在本片里他所更加注重的是「暗」，哪怕是烈日凌空的戏，迈克尔·曼都会执着于在镜头下创造暗部。可以认为他的影像本质就是光与暗的较量，以及角色在阴影间穿梭所留下的姿态，所以才会有如此多的追逐戏，在慢节奏的叙事下仍然迷恋这种原始的肢体呈现，最终的摄影效果便是人物与景观的和谐。大量的战争戏与动作戏保持较高水准，林中遇袭那场戏调度最为亮眼，迈克尔·曼甚至用一个可怕的长镜头来展现他对大量群演的调度能力。最后悬崖上的决战，其剪辑本质是与《大盗独行》完全一致的，直接拔高了我的观感。当然不得不承认，Trevor Jones的配乐绝对是超越迈克尔·曼影像的存在。
今天《最后的莫西干人》，依然是因为配乐而看，Trevor Jones不愧汉斯大湿最得意门生，整张配乐一牛到底，大气磅礴总要缠绵悱恻来点缀，丹尼尔·戴-刘易斯简直型爆了，几乎算我最爱的男演员了，罡气如《我的左脚》，《以父之名》，文艺有《布拉格之恋》，《纯真年代》，霸气可《血色将至》，《纽约黑帮
气势磅礴的配乐很美，长发飘飘的刘易斯很帅，几场正面近身遭遇站还是有迈克尔·曼的风采，以上就是本片的全部优点。
Daniel Day Lewis在片中不断奔跑的镜头酷毙了
很好的素材，很悲壮的故事，和原本应该很严肃的主题。爱情被放大太多了，以至于片名“最后一个莫西干人”这个最重要的主题被忽视了。前半段节奏很奇怪，总体还算是紧凑。值得一提的是，原声，演员，场面都非常出色。刘易斯太潇洒了。
这片子完全是靠配乐，美景和奔跑的刘易斯撑起来的，剧情完全可以忽略。最后被妹子的殉情给感动了，多给一颗星。迈克曼比较适合导双雄戏，只要爱情占了主要地位那片子必定杯具
Action/Sci-Fi/Thriller/Suspence/Crime Drama
主题曲一响起就感到悲从中来，恢宏壮阔如苍鹰翱翔在广袤的群山之巅。喜欢这部电影，故事也讲得很不错，但对于整部电影呈现出来的历史态度还是感到难过，白人与印第安人在这里相互厮杀，势均力敌，白人对印第安人的屠戮往往以言语回忆交代，而印第安人的报复却直观呈现……尽管对于历史时代中的个体，也许不必刻意褒贬，更何况这个世界没有一寸人类可及之地，没有被罪恶和杀戮洗礼过。
合着你们殖民有理，印第安人给驱逐屠戮殆尽你们也没辙，只是物尽天择丛林法则起作用？最后还找人印第安老头给你殖民辩护找合理依据，“这片土地只适合我的白人孩子与她的女人……一代代人将在这里奋斗，但是，我们毕竟在这里生活过。”没你们这样的，侵略了人，还讲便宜话，真行。
接近俩小时的电影不知道导演想表达什么或者说想表达的太多，历史，爱情，还是对四位莫西干人的赞美?结果哪一样也没有表达好。剧情之间衔接不到位，各种突兀不合理，就不一一列举了，最雷人的是小女儿竟然就那么殉情了，他们俩之间到底发生了什么???还有就是那段配乐，各种用，哪里都能用...
与世无争宛若生活在油画上伊甸园里《最后的莫希干人》是早期殖民主义时代所谓人类文明最后的保护神，然而一场不属于却来自于异化的野蛮人播下的战火将土地上仅有的家园焚毁成了废墟。大而俗的爱在电影中是轰轰烈烈的精神信仰，亦是死灰复燃重建社会秩序的希望。银幕之外它是按照以上模式再演绎无数遍。
电影名字就够悲壮，配上音乐简直了。最后那场谈判还挺让人感动的...丹尼尔戴刘易斯真是帅啊，飘逸的长发，健壮的身躯，奔跑的步伐，温柔的眼神~~~
看着片名以为是个恢弘悲壮的少数裔斗争故事，谁知道他喵的竟然是两白人莫名其妙的爱情故事，然后还害死一对苦命鸳鸯，所以才导致最后只剩一个莫西干人了，如此才点题，这简直是挂羊头卖狗肉吧。。。╮(╯▽╰)╭PS：当然那广为流传的配乐的确是赞。
在内容和外观上，电影都让人仿佛看到了《勇敢的心》的影子，但它却讲了一个无法令人产生共鸣的爱情故事。导演没有能够赋予电影以灵魂，使得不错的画面沦为了街边无法记住的橱窗布置。它给人的最深印象应该是，丹尼尔·戴·刘易斯年轻时这么帅，和电影的音响效果是真的特别棒。
08年11月27瑰丽雄奇，堪比Cooper原著。配乐简直...
我對Daniel Day-Lewis的印象，僅止于他配角的A room with a view，可是此片裏，他的個人魅力太強了，幾個眼神相信無數女觀衆就被俘虜