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A great film has the ability to convey the unimaginable to the audience. Watching the protagonists suffer through physical and emotional pain that most of us cannot comprehend while sitting in the comfort of a darkened theater or our living room. The majority of the time, these endurance tests come across as manipulative, or worse, false. Our intelligence allows us to “see the strings” being pulled, and the actor and set never disappear into the character and circumstance. In Alejandro Gonzalez Iárritu’s “The Revenant,” what’s remarkable about the film is how effectively it transports us to another time and place while always maintaining its value as a work of visual art. “The Revenant” isn’t something you just watch; it’s something you live through. You walk out of the theater exhausted, impressed with the overall quality of the filmmaking, and a little more appreciative of the creature comforts that you enjoy in your everyday life.
Immediately into the film, Iárritu and co-writer Mark L. Smith establish their tone by staging a breathtaking assault on a group of fur trappers by Native Americans, who are depicted not only as “enemies,” but as a violent force of nature. The setting for a scene straight out of “Apocalypse Now” takes place as a small group of men prepare to pack up and move on to their next destination in the great American wilderness. While fleeing to a nearby boat, arrows pierce the air and the flesh of the few remaining men. According to the investigation, the tribe is looking for the kidnapped daughter of their leader and will kill anyone who stands in their way. The film also includes the revelation that one of the trappers, Hugh Glass (Leonardo DiCaprio), has a son named Hawk who is half-Native American (Forrest Goodluck).
The expedition’s leader, Andrew Henry (Domhnall Gleeson), is running low on men and is being hunted, so he orders his crew to return to their base, a fort in the middle of a snowy wilderness. John Fitzgerald (Tom Hardy) is of the opposite opinion, and the seeds of dissension are sown. He doesn’t have faith in Henry, and he doesn’t care for Glass. At one point during this time, Glass is away from the rest of the crew and is attacked by a bear. The sequence is without a doubt one of the most visually stunning things I’ve seen on film in a long time, as well as being heart-racing and terrifying. Glass barely makes it out of the attack alive. It appears highly unlikely that he will be able to return to the base in time. They agree to split up because the conditions are becoming increasingly dangerous and they are being pursued by a tribe of killers. Glass will be buried first, but Fitzgerald, Hawk, and a young man named Bridger (Will Poulter) will be paid a substantial sum to remain with him until he dies, providing him with as much comfort as possible in his final days and ensuring that he receives a proper burial in his honor.
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Fitzgerald, of course, quickly grows tired of having to sit by and watch a man he doesn’t care about die. He kills Hawk in front of a motionless Glass, and then essentially buryes Hugh alive in the ground. In the meantime, as Bridger and Fitzgerald return to their respective homes, Glass virtually rises from the dead (the term “revenant” refers to “one who returns after death or a long absence”) and begins his quest for vengeance. Even with broken bones and no food, he drags himself through snow and across mountains in search of the person responsible for killing his son. A ghost, in fact. A man who has come as close to death as one can possibly come but who will not pass to the other side until justice has been served.
The Revenant Quiz
The majority of “The Revenant” is devoted to this torturous journey, during which Glass regains his strength and makes his way closer to home through sheer willpower. “The Revenant” is shot by Emmanuel Lubezki, Iárritu’s Oscar-winning cinematographer for “Birdman” (who also won an Oscar for “Gravity” the year before and could easily make it three in a row with this work), in a way that conveys both the harrowing conditions and the artistry of his vision. The sky appears to stretch on indefinitely, and the horizon appears to be unending. He paints with a color palette that is inspired by nature, but that has been enhanced. The snow appears whiter, and the sky appears bluer. Many of his shots, particularly during times of great danger, such as the opening attack and the bear scene, are uninterrupted, putting us right in the middle of the action and giving us a sense of immersion in the story.
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At other times, Lubezki’s choices harken back to his work on “The Tree of Life,” particularly in scenes in the second half of the film when Glass’s journey becomes more mystical. And it’s at this point that the film begins to falter. It’s clear that Iárritu is struggling with those second-half scenes, and the film’s 156-minute running time begins to feel a little excessive as the narrative loses its focus. When it focuses on the circumstances and the story of a man who refuses to die, it is enthralling to watch. I just think there’s a tighter version that would be even more effective, especially in the mid-section, that could be made.
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This is what I have to say about him: There has been so much emphasis placed on this film as being DiCaprio’s “overdue Oscar” shot that I believe his actual work in this film will be underappreciated. Make no mistake about it. If he wins, it will not be a “Lifetime Achievement” award, as we’ve seen in the past for actors who we all thought should have won for another film. Instead, it will be a “Best Actor” award (Paul Newman, Al Pacino, etc.). He’s completely committed in every terrifying moment, pushing himself further than he’s ever gone as an actor before in order to achieve success. We believe that even if his body is broken, DiCaprio’s internal fortitude will keep him going. His body may be broken, but we believe he will not give up until he completes his mission.
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There’s only a small supporting cast, but it’s nice to see Gleeson continue to have a stellar year (he’s also in “Brooklyn,” “Ex Machina,” and “Star Wars: Episode VII – The Force Awakens”) in the role of a detective. In contrast, Tom Hardy is less effective, often relying too heavily on the tics (wide eyes, up-close shots), but I believe this is a fault of the direction rather than one of our best actors. In the end, this is DiCaprio’s film from beginning to end, and he delivers on every difficult beat, literally throwing himself into this character who demands more of him physically than any other he has played before.
What would you do if you had the opportunity for vengeance? What obstacles would you have to overcome in order to obtain it? Or would you prefer to simply give up? Our favorite films frequently introduce questions like these into our lives, allowing us to view the world in a new light than we would have otherwise been able to see it. This is the power of “The Revenant.” It lingers in the air. In the back of your mind, it looms large, like the best classic parables of man versus nature do. It is expected to remain for an extended period of time.
For more personality quizzes check this: Suicide Squad Quiz.
