THE LAST HUNTER

One of the original artists responsible for the Golden Age of Italian Horror Cinema, particularly in the advancement of the supernatural gothic, Antonio Margheriti was a craftsman capable of instilling the simplest story premises with dark elegance, nightmarish atmosphere, and surprisingly thoughtful context. While it must be admitted that he lacked the overall artistry and psychological depth of contemporaries Riccardo Freda and Mario Bava, his imaginative scope and attention to mood places him high in the pantheon of greatness. Instilling palpable dread, a Faerie Tale sense of awe, and rustic simplicity in his gothic nightmares of madness and ancestral curses, Antonio injected somewhat trite thematic formulas with humanity and belief. Not content to labor in any one genre, he practiced his trade in several genres, ranging from crime and sci-fi to the Western. In The Last Hunter, he tackles the Vietnam War and dangers/psychological isolation of a lone man trying to survive. Not as memorable as The Long Hair of Death or Castle of Blood, this realistic actioner remains dramatic and exciting, sporting explosive action sequences and a morose atmosphere. A solid entry in the director's cannon, The Last Hunter has been given the deluxe treatment by Dark Sky Films. Touches of the director's mastery of mood enliven what would have been just another exploitation film in less capable hands.

A riff off of such popular films a The Deer Hunter and Apocalypse Now, The Last Hunter borrows from these films heavily, including (but not limited to) the brothel scene, a trip down river to eliminate a perceived traitor, etc. Despite such surface and sequence similarities, Margheriti infuses these clich� moments with enough atmosphere and action to make the picture truly his own. David Warbeck is wonderful as Captain Harry Morris, an operative who is dropped into the jungle to execute the above-mentioned mission. Graced with sympathy and machismo, his character is almost an archetype, symbolizing the US preoccupation with figures who 'do their job' despite all odds. More interesting, of course, is the occasional ambiguity that pops up throughout his mission, questioning the sanity of the war, his mission, and our species. Still, this film isn't really devoted to philosophy but tough-as-nails action. And of this you get plenty! Ceaseless gunfire, explosions, bloody death dealing -- it's all here, in quick and grim fashion. This is a movie crafted to entertain, and it does so with visual proficiency and spirit.

The plot, while nothing new, makes possible all the excitement, grim violence, and sacrifice one expects in a war picture, with Margheriti emphasizing a surprising amount of attention on the central character's emotional state and development. We're made to care for this mercenary-like figure, and sympathize with his position as an Outsider even amongst the atrocities of war. Having exploited the atrocities and fear reaching emotional ghosts of war before, particularly in Cannibal Apocalypse, Margheriti knows just where to poke our cultural soft spots, infusing his believable settings with a grim sense of futility and helplessness -- a savagery of the heart to mirror the savagery of the environment. If Italian filmmakers often exploited current American trends, they just as often improved upon the formula, bringing distinct aesthetic preferences and ideals to the plate. Most disturbing is the director's ability to express the distrust of war, delighting in showing the deadliness of women and children used as pawns against our hero. Gorehounds will find much to their liking, as human beings are treated like meat for slaughter, dismembered, splatted, and torn apart every other frame. Most notable is the downbeat ending, another mainstay of the Italian film, and employed to devastating effect.

Dark Sky releases The Last Hunter in superlative technological fashion. The picture is presented in a sharp and clear 2.35:1 anamorphic widescreen without significant grain or visual distortion. The colors are bold and bright, and the skin tones realistic. Audio is featured in 2.0 Mono Dolby Digital, free from hissing or other such distortions. Extras are lean but significant, including a Trailer, Still Gallery, and most significantly, "Margheriti and The Last Hunter," a featurette with Edourado Margheriti that touched upon the late later director's goals with this film in an honest and respectful fashion. Another genre rarity given technological respect and enlivening supplements, The Last Hunter is a treasure of exploitation and rough drama.

Review by William Simmons