The Revenant

As the world becomes over-saturated by blockbuster franchises, director Alejandro Gonzalez Inarritu has sought out ways to turn event films into something stemming from reality and a fierce sense of the moment.

It turns out that Inarritu and his director of photography Emmanuel Lubezki were only warming up with last year’s “Birdman.”  That was a film that was praised for its use of in-camera effects and clever long takes and editing that complemented a quirky and fun script.  They took those tools and tricks and amped them up to 11 in The Revenant. 

The incredibly detailed choreography between actors, sets, and camera in this film are unprecedented.  Action is never cut away from or edited.  We, through Lubezki’s camera, become a character in the film.  Rarely straying from a wide 13mm lens, he puts us in the middle of a bear attack or battle in the forest or a free fall down a waterfall.  I’ve never felt such intensity from a film while also feeling such wonder and amazement.  Much like when we saw “Jurassic Park” or another blockbuster from the early 90s and wondered “how did they do that?”, we sit in the audience and, for the first time in many years ask that same question.  Instead of fantastic computer effects, the cast and crew suffered months of agonizing shooting in cold, wind, rain, and snow to capture fleeting moments of magic that could not be created inside of a computer.

I loved the pacing of the exposition in “The Revenant.”  Instead of having the characters take up precious screen time telling us what is happening, the details emerge slowly and naturally.  Again, we are simply a part of this experience.  Glass (Leonardo DiCaprio) is portrayed with a deep sense of pain and mistrust for other men.  His character is more comfortable alone or with his son in nature.  Tom Hardy’s character Fitzgerald is the kind of selfish brute who makes life difficult for everybody in the frontier.  It turns into a story of greed and revenge but mostly an epic tale of survival.  DiCaprio will finally win an Oscar for his performance.  It’s brutal, raw but surprisingly simple.  The complexity comes from the emotion in his eyes.  If you see the film, watch his eyes.  Watch the different emotions he portrays just seconds apart.  The final shot is perhaps the most haunting of the whole film.

“The Revenant” is certainly not for everybody.  Along with the raw realism that Innaritu infuses with the long, uncut takes, comes a reluctance to turn the camera aside or cut away when something awful happens.  We are forced to watch as Glass (DiCaprio) is victim to a horrific bear attack.  We see and can almost feel each bite and claw swipe.  We experience each trial and tragedy first hand.  The film continues with this.  It’s very violent, a reflection of the wild environment in which these men find themselves.  Not a place for children or the faint of heart.

In many ways, the filmmaking style forces the audience to be a part of this natural violence.  We find ourselves asking “what would I do?” all throughout the film.  It raises some very interesting questions at the end.  My ultimate question that I’m still not sure I can answer is, “Does revenge ultimately accomplish anything but more pain and suffering?”

This film is the most haunting and visceral since “There Will Be Blood.”  It is certain to be lauded with awards and praise for a long time to come.  It is inspiring as an artist and film technician to watch a group of filmmakers at the very top of their craft.  It is the most enthralling experience at the cinema this year.