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A great film has the ability to portray the unfathomable. Protagonists undergo an unacceptable level of emotional and physical pain in a bid to connect with the audience. We can enjoy that suffering in the comfort of our living room or a theater. Unfortunately, there are instances when such tests of endurance feel manipulative and disingenuous. More often than not, we are able to detach ourselves from the so-called character which only proves the greater point. There are so many layers of discomfort and possession within Iñárritus work that he feels like the character rather than an enriched set. The Revenant is a masterpiece in illustration of how one captures visuals and simultaneously focuses on the narrative. It’s actually rather simple. You do not just observe The Revenant, you go through it. When you are done enduring it, you are grateful for the comforts of your life, but also thankful for the true art of filmmaking.
At the start, Iñárritu and co-writer Mark L. Smith set a powerful tone with a breathtaking assault against a group of fur trappers. They were not only being attacked by Native Americans, but were facing a violent force of nature. While several dozens of men are getting ready to pack up to proceed to an alternative location within the majestic American wilderness, one is apealled by a chapter of “Apocalypse Now.” Arrows slice through the air and flesh as the handful of men who remain alive rush to a nearby boat. It appears the tribe is in pursuit of a kidnapped daughter of their leader and will slaughter anyone who attempts to hinder the process. Simultaneously, we discover that one of the trappers, Hugh Glass (Leonardo DiCaprio), has a half-Native American son known as Hawk (Forrest Goodluck).
Lacking men and being hunted down, the leader of the expedition, Andrew Henry (Domhnall Gleeson) commands the men to return to their base, a snow-laden fort. John Fitzgerald (Tom Hardy) does not comply, and tension is brought to life. He has his suspicions regarding Henry and is not a fan of Glass. In between these fights, there is a day Glass is absent from the crew and is violently mauled by a bear, which is sincerely heart thumping and terrifying. Glass is on the brink of death. He is unlikely to make it back to the fort. With weather worsening and a tribe of savages on their tail, they decide to pursue different objectives. A majority of men will go back while headkas and fatkote will accompany and Briger (Will Poulter) along with Fitzgerald who will receive great payment to wait for Glass until he passes, trying to make for his last moments, the most comfortable.
Of course, Fitzgerald grows impatient with having to witness the demise of a person he is not particularly fond of. He finishes off Hawk in front of Glass and then almost buries Hugh alive. When Glass manages to break free, he is effectively rising from the grave (the word revenant is derived from the French term for a ghost and literally translates to returnee) and sets out to get his revenge. Dragging his broken limbs through snow and mountains without food has one singular goal: as a ghost, he is in search for the man who so brutally murdered his son. This dilapidated man is on the brink of death, but will not let himself succumb to the fate until he gets the closure he so desperately wants.
Much of “The Revenant” is centered on that grueling path, in which Glass slowly regains his energy and takes one step forward at a time towards home. Emmanuel Lubezki who won the Oscar for best cinematography in “Birdman” and took a trophy in “Gravity” the year before could make it three in a row for this piece. In his vision, Lubezki crafts the sky to appear like it stretches on for all eternity, one which he puts the horizon into and gets paid to craft for. The snow appears whiter and the sky is bluer, they work on a color palette enhanced by nature, yet. He captures most of his shots, primarily in high risk situations like the bear and opening attack, in a single shot, putting us smack in the middle of the action.
Sometimes Lubezki’s choice remind viewers of his other works like “The Tree of Life,” particularly in scenes in the second half when Glass’s journey turns more bewildering. And this is where the film sagged a bit. That’s Iñárritu’s problem. He seems not to be in control of those second half scenes and the 156 minutes feel excessively indulgent as the film starts to drag. However, when it focuses on the circumstances and the narrative of a man who does not want to die, it is captivating. I simply think that version, particularly in the middle, would be much more effective.
Regarding that man: It is hard to forget Newman’s sham Oscar bestowings and how everyone recognized him deserved so much more. I for one hope DiCaprio’s work does not go underappreciated because of the excessive hype surrounding DiCaprio’s “because Oscar is overdue” angle. If he wins, it will be far from Al Pacino style ‘voicing out of frustration Oscar. For one thing, he is utterly fearless in every spine-chilling second of the film and it is inspiring as it is terrifying. Even looking at how physically demanding this part is, a lot of some lesser-known actors would just walk away. It is the way in which DiCaprio portrays his body’s negative capability that’s captivating—his body may be broken, but we believe he is unwilling to give up.
Minimal supporting cast is also good, and it’s nice to see Gleeson continue to have an amazing
2015 (also in “Brooklyn,” “Ex Machina,” and “Star Wars: Episode VII – The Force Awakens”). Tom Hardy is not as effective, usually going a bit overboard with the tics (wide eyes, shot up-close) but that’s a consequence of the direction, not of one of our best actors. DiCaprio practically uses every ounce of him in this character. In the end, this is DiCaprio’s movie through and through, and he sure does nail on every challenging beat.
What would you do for vengeance? What barriers could you overcome to get it? Or would you just walk away? These are the questions that some of our favorite films drop into our lives, tends to change the way we view the world. “The Revenant,” is a film that can do this very well, and it is quite effective. It lingers. It hangs in the back of your mind like the best classic parables of man vs. nature. And it will stay there for quite some time.
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