Lone survivor, doctor Robert Neville, struggles to create a cure for the plague that wiped out most of the human race while fighting The Family, a savage luddite death cult formed by the zombie-like infected to erase the past.
In the future year of 1940, a young man is rejected and humiliated by a girl and goes off to be a hermit in a redwood forest. By 1950, a dreadful plague of "Masculitis" has killed every ... See full summary »
When a plague devastated life on Earth, the population died or became a sort of zombie living in the dark. Dr. Robert Morgan is the unique healthy survivor on the planet, having a routine life for his own survival: he kills the night creatures along the day and maintains the safety of his house, to be protected along the night. He misses his beloved wife and daughter, consumed by the outbreak, and he fights against his loneliness to maintain mentally sane. When Dr. Morgan finds the contaminated Ruth Collins, he uses his blood to heal her and he becomes the last hope on Earth to help the other contaminated survivors. But the order of this new society is scary.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The script was written in part by Richard Matheson, but he was dissatisfied with the result and was therefore credited as Logan Swanson. See more »
When Morgan talks to Ruth, approximately at 1:10:09, it is possible to see a sudden shadow (maybe a crew member passing in front of the light source) projected on Morgan's back for a second. See more »
The 2008 DVD release by Ripley's Home Video in Italy restores not only the mother-with-crying-baby shots from the end scene of the film (as in the US MGM release), but also two lengthy sequences earlier in the film. The first is a flashback scene where Virginia consoles a tearful Morgan after the funeral of their daughter Kathy, while the second is a conversation between Morgan and Ruth after her she has changed into some of Virginia's clothes. Both scenes reinforce Morgan's utter devotion to his deceased wife and help to clarify his descent from a lively and vibrant family man to the grim loner, himself only one step away from the living dead. See more »
Seems like a great film ...but for all the wrong reasons?
I like this film, and definitely associate it with my childhood, via the inside cover of an old issue of Famous Monsters that pictured a vampire arm groping around the door for Vincent Price. I gazed at that photo as the magazine wore out, for years before I actually got to see the film.
Vincent Price is always good to see. But as he is not a terribly physical actor, he looks awkward doing some of the things he is called on to do here, like dragging a body to the edge of a pit and heaving it in, pounding a stake into a vampire heart, or hurling a mirror across the room in disgust and despair. Not standing about with cocktail in hand, dressed to the nines and oozing wicked sophistication, he looks about as out of place as Cary Grant would setting a trash can out at the curb.
I ask, in the title of this review, if we like this film "for all the wrong reasons" because, inescapably, I find it pitched at a sort of self-pity, tapping into the allure of images of yourself alone at the center of the human universe, of satisfied contemplation of the stupid folly of Man the Scientist, the Politician, the Warrior, that will bring the end of his own species. --In a word, it seems to inhabit a place that is the near-exclusive province of the truly isolated, disaffected and fantasy-prone adolescent.
Being aware of this demographic skew doesn't invalidate the real and strong emotional place the film creates and enables anybody else to inhabit. But I do wonder about the effusive, near-idolatrous over-analysis this film has been known to elicit. I think it would be a pity if, through the growing cult of this film, we come to be less moved by horror --the whole precept on which Matheson's novel and the film are based-- than seduced by the film's image of post-apocalyptic solitude, which can lapse into full-blown gloating misanthropy with just a slight nudge.
I find Last Man oppressively tragic and sobering and depressing-- and always, always utterly absorbing. Even tenth time watched, it feels like you are watching your own funeral, listening to nothing less than taps being sounded for your own species. This is, not to be too glib, the films greatest strength AND weakness.
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