Truly Dreadful Film

Load of rubbish!!

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Amazing worth wacthing. So good. Biased but well made with many good points.

I was originally attracted to "The Last Movie" as "Easy Rider" is one of my favorite films. Since I saw that director Dennis Hopper after "Easy Rider" collaborated again with Laszlo Kovacs and other cast and crew members, I had wanted to see "The Last Movie" for a long time.Well, it is certainly very different from Easy Rider in many respect, though the cinematography and editing are very similar. Personally, I love all the experimental edits; the switches between an almost documentary look and stylized, beautifully composed shots. Scenes are edited precisely to sound effects and music, and the cinematography has a beautiful, "playful" and unconventional feel to it. One example that stuck in my head is the moment that Kansas is first introduced riding on his horse. We start in a closeup, then the camera zooms out and pans to reveal him riding away into the distance - but unlike most films it does not stay in that framing. Instead, without cutting, it suddenly pans down across some flowers until we cut to the next shot.The story and narrative style are entirely different from "Easy Rider", and the film needs multiple viewings to be fully grasped. To be honest, after the first viewing, I did not really like "The Last Movie", but it stuck with me because I kept thinking about it and eventually watched it two additional times within a few weeks. Each time, I noticed (sometimes important) details that can not be understood at the first viewing. And after each successive viewing, I liked it more. In a way, "The Last Movie" reminds me rather of a piece of almost abstract art than of a "classic" film which would be about a storyline that can be summarized easily; "The Last Movie" is constructed like a puzzle, revealing many thoughts and ideas only after the audience is thinking about them for a while. I suspect that might be one of the reason for some of the bad reviews it got: People judging it expecting a "regular" film with a more or less classic storyline and emotional attachments to characters, instead of a rather abstract work. In an interview shortly after the NY premiere, Dennis Hopper himself suggested it might be best to watch the film 2-3 times to fully grasp it. When I first heard the interview, I had thought it might be a pretentious thing to say, but after watching the film, I do agree.The structure of "The Last Movie" deconstructs classic cinematic narrative approaches. A lot of details are presented almost in passing, easy to miss during the first viewing. For example, when a stuntman falls from a horse in the Western being shot, we can see an extra being worried that he is really dying, seemingly not understanding that it is acted. Upon second viewing, I noticed that the "extra" later in the storyline actually becomes the "director" of the Peruvian villagers. But even during my first viewing, I found the opening 20 minutes brilliantly executed. I feel it is best to enter the film without knowing the storyline first, because then the opening is especially innovative and enigmatic. We start with Kansas (Dennis Hopper) with the Peruvian villagers in the movie sets, then cut to a Western in the 1860s (which might appear like a flashback into the past when one first watches without knowing the storyline ), then to Kansas on a horse and during a party- and after a while, suddenly, in a magnificent shot, it is revealed that the Western is actually a film that is filmed in the storyline, and all is tied up.I do find the film's strength in its opening and ending - particularly the ending brilliantly deconstructs any sort of narrative structure. It starts once Kansas suddenly - almost embarrassed - reveals in a dramatic moment that he has no wound make up, covering a spot where he had been shot earlier that now features no traces. From then on, it becomes an almost abstract work, showing outtakes, people getting in and out of character, which I found beautifully executed. My favorite moment is actually right towards the ending, when we suddenly see the camera filming the burning villagers' "camera". There, we can see how Laszlo Kovacs adjusts the framing, looks for a good spot - all the material between "good" shots that would normally end up on the cutting room floor is suddenly inserted, giving us a subtle but unexpected glimpse into the filmmaking process. As I myself often edit film, it was very interesting to suddenly see such a moment included. The middle part of the film is where I feel it loses focus partially. The film appears to be not about relating or emotionally connecting with characters, but about the more abstract ideas behind its construction, appealing almost entirely to the audiences' intellect rather than emotions. Therefore, hardly any characters are explored in depth, and even emotional scenes (like Kansas running with his girlfriend to a beautiful soundtrack after the Western wrapped) do not really allow any lasting emotional impact. When Kansas decides to stay back in Peru, the viewer at first can sympathize with him, and his love story with a local prostitute appears touching in a few beautiful moments. But in the course of the film, him and the people around him appear more and more flawed and unlikable, which culminates in him beating his girlfriend and trying to make up by getting an expensive coat for her. The way the characters in the middle of the film are constructed I felt might be a deliberate attempt to distance the viewers emotionally from the them, thus preventing viewers from getting "lost" in the storyline, which would be a kind of almost Brechtian approach that is also supported by the fragmented narrative (though, the middle has a more conventional narrative flow than beginning and end). I personally prefer the approach of "Easy Rider", which mixed more thoughtful, abstract moments with more emotionally relatable ones (the farmer, the commune, George Hansen, etc.). There were no parts in "The Last Movie" that gave me the sort of emotional positive "relief" that the mentioned scenes/characters gave me in "Easy Rider". The closest equivalent to a likable character in "The Last Movie" were intially Kansas (until the middle) and maybe the priest, who - in the beginning - appeared to be a voice of reason in chaos and tries to prevent violence. But - as all characters - he is also not really explored, and during the ending, his character, too, becomes very different, as slowly the narrative structure is deliberately "eroded", creating an emotional distance between viewer and that character, too.All in all, I find that "The Last Movie" is a film with many subtexts and thoughts. Putting its focus on a rather intellectual approach makes it less accessible than "Easy Rider", but very interesting nontheless. Its very experimental approach certainly was unexpected to many viewers, and I personally also prefer "Easy Rider "- but respect Dennis Hopper's work in "The Last Movie" as the work of an artist with a strong, unconventional vision for this particular film, making it more of an abstract arthouse film with a "European" vibe. I am quite sad that Dennis Hopper didn't do more films right afterwards with the same crew - I like his visual style of the period, and believe him to be a very talented director - the competence with which he handles scenes of many styles (like the incredibly staged and filmed Western shootouts) demonstrate his abilities to direct scenes of various genres, and it would have been interesting had he done more "emotionally relatable" mainstream compatible films right afterwards. I watched a murky VHS copy, and really hope that the film will be reissued soon on Blu-Ray or DVD - I would certainly buy it as I feel there might be more things "hidden" in the images that are necessary to "decode" more of the storyline.

Dennis Hopper has always been one of the most rebellious filmmakers and actors in American cinema, so it's really no surprise that the film he would make directly after Easy Rider (his directorial debut and an incredibly unconventional film in itself) would be The Last Movie – another unconventional movie but this time he really stretches the structure of your typical Hollywood picture and the meaning of the word "unconventional". The movie starts out in Peru and on the set of a western being made by, none other than, Samuel Fuller. Hopper is only seen in the background mostly during the first half an hour of the film as a stunt man. The film being shot is full of violence and death and soon enough the shoot ends in a real death of one of the actors. The film wraps up but Hopper decides to stay in Peru and shack up with a local prostitute. As they begin to settle into their home in the mountains a priest approaches Hopper's character and tells him that the villagers are re-enacting the scenes from the movie but for real. They've no idea that what they saw previously was all faked. Soon enough they're asking Hopper to re-enact the part of the stunt man who died. In the style of Easy Rider, Hopper edits rapidly and there are random cuts to things that aren't really relevant to much but it all makes you feel like you're right there in Peru with these villagers re-enacting these scenes. Hopper's performance goes from emotional to drunk within seconds in some scenes and this really is a showcase of both his acting abilities and his directorial abilities. The wide cinematography looks like it's taken right out of a John Ford movie, but then when the camera closes in and gets closer to the characters it looks like a filmmaker toying with his camera on his first film. This really is a splendid film and it's one that challenges the viewer to think, not twice but, three times about how a feature film should be presented and for the filmmaker viewers it challenges them to rethink the linear structure in which these films are made. It's not like Reservoir Dogs or Pulp Fiction in it's structure but it's definitely similar to films like those that tell stories in this way and in that respect this film is miles ahead of it's time. Hopper's next film Out Of The Blue, which I have already seen, was – after seeing this – the logical step for Hopper to go and I now am dying to rewatch that because I know I will like it much much more.http://destroyallcinema.wordpress.com/

Not the underground classic Hopper was praying for (if he prayed in 1970), but still under-rated by Critics and The Public..mainly because the plot itself foxed them into taking sides or JUST hating Dennis Hopper. This film is a barely 7 out of 10 because of the seemingly innocuousness of the project. Samuel Fuller wasn't in this film for laughs or money. Jim Mitchum, Russ Tamblyn, Julie Adams, Peter Fonda, and a host of interested mummies did their best.This was one of Dennis' best directorial efforts (which were all pretty flamboyant and edgy). HE knows it failed, but it succeeds on too many cultural (icon) levels that are pretty surprising. I can't believe this flick got made on location with no dying. If you can get a copy of this strangely, turbulent piece of "Americana" just judge for yourself. Best performance = Don Gordon. Don't let this one slip by you.

I enjoyed the strange play of this movie. The mother's milksquirtng from a breast is definitely a first. I think they are to be commended for breaking down the myth of film actorsas real heroes. The native peoples who might see films as ritual for religion or politic give the raw substance for an anti-movie like this. Brialliant in concepton - too bad the budget and follow through were'nt there. I saw a version with lost scenes and rescued editing. It deserves more.