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The Last Movie 1971
Description: A movie shoot in Peru goes badly wrong when an actor is killed in a stunt, and the unit wrangler, Kansas, decides to give up film-making and stay on in the village, shacking up with local prostitute Maria. But his dreams of an unspoiled existence are interrupted when the local priest asks him to support stop the villagers killing every another by re-enacting scenes from the movie for true because they don't understand film fakery...
Released: 21 Oct 1988 Director: Dennis Hopper Writers: Dennis Hopper (story), Stewart Stern (story), Stewart Stern (screenplay) Actors: Julie Adams, Daniel Ades, Richmond L. Aguilar, John Alderman Genres: Drama
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The Last Movie Reviews:

It's hard to see why folks have such a difficult time with this movie. Anyone who is interested in European art cinema of the '60's or even the novel since Joyce could have no problem reading the movie on at least some levels. Hopper's way here is to test and receive inside the head, to place thought and memory on the screen, not just pictures.Part of the trouble may be the sheer complexity. There are probably enough concepts crammed in here for a dozen movies, and Hopper throws them all at us, often simultaneously. There's a storyline about American imperialism, there's a storyline about the artifice of film-making, there's a storyline about the method audiences view cinema, there's a Christ allegory wrapped up with a general sacrificial victim theme, a storyline about boys and women, sex, cash and power, there's Hopper's own story, the storyline of cinema itself, there's a satire of Hollywood conventions in general and the Western in particular, very notably there's a storyline about the Peruvian landscape, ravishingly shot by Laszlo Kovacs. There's even the storyline of Hopper's gofer lost in a society he doesn't understand if you wish a easy narrative to hang on to. The movie combines all these facets into a structure which can only be described as crystalline.Devotees of "folding" could search plenty to occupy them here - there's the movie about Hopper's hero "Kansas", the movie Sam Fuller is making, the villagers' "film", "The Last Movie" itself, an on-set home film and probably few others besides.Hopper gaily references (and steals from) everyone from Fellini and Godard to John Huston and Nicholas Ray, and of course goes bonkers in Peru well before Werner Herzog got around to it (and appropriates tribal culture in a strikingly related way).Definitely not a movie to be missed by anyone interested in fractured narratives, postmodernism in movie or the pretty image. Vastly underrated and well worth its Venice prize, this is to "Easy Rider" what "Pulp Fiction" is to "Reservoir Dogs". Hopper as a director has never been better.


This film isn't nearly as terrible as I thought it was going to be. But I don't know how to suggest it, or to whom. Do you like Dennis Hopper? Well, here he is, in almost each scene, and he never looked better. A pretty face, the graceful cowboy. In fact, he appears so genuine in this movie that I start to realize what an acting job he was doing in Simple Rider. The scenery is haunting, and the film has a poetic, lyrical rhythm....yet sometimes seems to go on too long, and the mind wanders....but I loved the feel of it, the primitive environment of the Peruvian village, the ever-present mud....contrasted with the lewd and crude wealthy Americans. And I happened to play the home-movie aspects of this film, also. I delighted in picking out Dean Stockwell, Peter Fonda, John Phillip Law, etc. in the Hollywood on Zone shots....I loved the spontaneity of the last scenes of dialogue....hell, I loved seeing Kris Kristofferson sitting on a rock singing Me & Bobby Magee....but would anyone else?


I watched this movie twice. The second time I watched it I was simply trying to figure out why I liked it the first time---but like it I did. Usually I don't like this type of film, because I think they're pretentious. (NORTHFORK, as an example.) I think if ten folks watched this film, those ten folks would take ten various adventures and wind up at ten various destinations--so I can only describe what I felt---and it really was, for me, strangely enough, only a feeling. For me it boils down to this: I'm from Oklahoma. During the early years, growing up in the nice American heartland, the moral compass is very clear for most people. But the feeling, as you grow older (and migrate away from your roots), that with every season something precious is slowly draining away, and that things you care deeply about become like sand dunes that change shape and form with each rising sun---and there seem to be a progressive sense of loss---loss of the north star, reference points, meaningful trails in your life, until one day you are forced to stop and ask yourself, "Where am I, and what the hell do I care about anymore?" That's when you go to the pound and adopt a dog. I'm sure that my response to the movie had absolutely nothing to do with what the creators intended, but I liked the movie very much, and can't support but feel that this movie is vastly underrated and was never given a fair chance.



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