With 12 Oscar nominations under its belt, The Revenant (directed by Alejandro González Iñárritu) was the focal point in anticipation of the 2016 awards season. Attracting interest from general audiences and seasoned critics alike, The Revenant has stepped out from a mass of impressive films, becoming the clear frontrunner in anticipation of the 2016 Oscars. In trying to express the film, critics have called it “a grueling, exquisite, mystical odyssey of survival” (Nick de Semlyen, Empire), “brutal, intense, [and] grizzly” (Matthew Luke Brady, moviepilot.com), and, colorfully, “meaningless pain porn” (Carole Cadwalladr, The Guardian). It has been praised for its usage of wide-angle lenses, as well as the use of natural lighting, which together provided for an aggressively realistic feel over the whole of the film (cinematography done by Emmanuel Lubezki).
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Spoilers ahead! Set in the Canadian wilderness in the 1820s, mountain man and guide Hugh Glass (Leonardo Dicaprio), with his son Hawk (Forrest Goodluck), are leading a group of hunters and trappers in pursuit of animal pelts for trading. With the dangers of the freezing temperatures and a vengeful Native American tribe threatening the success of the journey, Glass is in an interesting situation. His son is Native American, and therein Glass’ connection to the Natives is clearly strong. The men in the group trust him enough to have hired him in the first place, but there is a clear disconnect between him and the group. A key group member, Fitzgerald (Tom Hardy), is suspicious of and aggressive towards both Glass and Hawk. Outsiders, the bond Glass has with his son is highlighted by flashbacks of their lives as father and son, as well as through their communication, which is in a Native American language.
The trip is severely slowed when Glass is near-fatally attacked by a grizzly bear. Having first tried to carry Glass the rest of the journey home, the men eventually decide that the task is too difficult, as Glass is too close to death for the effort. It is decided that Glass will remain in the wilderness under the watch of part of the group until he dies while the others move on. A younger member of the group, Jim Bridger (Will Poulter), Hawk, and Fitzgerald elect to stay with Glass. Fitzgerald’s intentions against Glass have been suspicious from their first interaction, and sure enough, when he grows tired of waiting for Glass to die, he attempts and fails to murder him, kills Hawk for trying to stop him, and makes his getaway with the weak-willed Bridger. The rest of the film chronicles Glass’ quest to survive and find Fitzgerald, out to revenge the death of his son.
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The Revenant is undeniably visually spectacular. The landscape shots, close ups, and tracking shots transport audiences to a beautiful and harsh realm, vastly different from their own. One feels they’re in super high quality virtual reality at times, like they’re there with the characters, and during other shots, like they’re floating above the mountains, surveying the ground below. The performances, likewise, by the entire cast, notably by DiCaprio and Hardy, were impressive and intense; by the behind the scenes accounts, they also required huge amounts of dedication, the result of which- remarkably realistic portrayals- shine through the dark mood of the film. Fitzgerald is a violent, angry, and very able man. Glass is so wholly, emotionally alone after the death of his son that he is completely empty, and is then filled with pure hatred against Fitzgerald, and the will to survive only so that he can kill him. The development of these characters is thorough without relying on dialogue, and their respective actions throughout the film are always in line with the way the audience member understands the men. The soundtrack is also worth noting; it doesn’t instruct audiences how to feel, but rather complements the emotions of the characters and completes the ambiance of the setting.
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Near the end of the film, a spirituality in Glass’ connection to his family is shown. His grief presents as dreams in which he interacts with his late wife and son. The scenes develop Glass’ tie to Native Americans and the love and sorrow he has for his family. These sequences will either contribute positively to an audience member’s interpretation of the film or take him out of the film a bit, depending on the viewer. The film is so animalistic and human that seeing these more abstract scenes may be too much of a shift for some to accept without distraction.
Overall, The Revenant is a spectacular film. There isn’t a moment that the screen isn’t presenting an absolute visual masterpiece. Audience members are transported to and immersed in a different, beautiful environment and feel like they are there with the characters. Performance-wise, without the dedication and talent of DiCaprio and Hardy, the film would not have been as successful as it is, and the other cast members were able to hold their own next to the power houses. The few abstract sequences may be a bit distracting to some viewers, but they are meant to develop Glass’ character and motivations, and if you go in with an open mind, they will do just that. The ultimate resolution of Glass’ pursuit of Fitzgerald was unsatisfying to me and struck me as an easy conclusion via a movie trope, but to others it may work just fine. Word to the wise, this film is not for the weak of heart. There’s a good amount of blood and other unsettling images, and for the plight of Glass, an audience member will truly feel themselves hurting for his tragedy. If you haven’t already gotten around to it and you think you can stand it, definitely go see The Revenant while you still can on the big screen.
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