{"id":7380,"date":"2016-03-01T00:51:50","date_gmt":"2016-03-01T04:51:50","guid":{"rendered":"http:\/\/artsatmichigan.umich.edu\/ink\/?p=7380"},"modified":"2016-03-01T01:55:06","modified_gmt":"2016-03-01T05:55:06","slug":"weekend-watch-the-revenant","status":"publish","type":"post","link":"https:\/\/artsatmichigan.umich.edu\/ink\/2016\/03\/01\/weekend-watch-the-revenant\/","title":{"rendered":"Weekend Watch: \u201cThe Revenant\u201d"},"content":{"rendered":"<p>There\u2019s a phrase that gets thrown around a lot: \u201cstyle over substance.\u201d Movies that embody this phrase are often visually exciting and unique, but they\u2019re shallow on a thematic level. Sometimes, being shallow is okay; action movies benefit greatly from style, so even some clich\u00e9 entries in the genre (like this year\u2019s \u201cThe Man from U.N.C.L.E.\u201d) provide solid entertainment.<\/p>\n<p>Strong style can be used as a great tool to cover up a lack of substance, but just because a movie\u2019s good quality is an illusion doesn\u2019t mean it\u2019s not necessarily real. If a sweeping, sad movie score plants an emotional seed that the story itself lacks, the effect can still be genuine. It might not be as strong or cathartic as an emotional reaction caused by the story, but it\u2019s not inherently fake just because it\u2019s caused by something artificial.<\/p>\n<p>So while I found \u201cThe Revenant\u201d to be pretty shallow when I looked at it in retrospect, that didn\u2019t take away from my enjoyment of it as I was watching. It\u2019s the kind of movie that the phrase \u2018style over substance\u2019 was created for, but that style is so amazingly done that the illusion works better than it has any right to, creating an immersive and frequently captivating experience that makes you forget how hollow most of it is.<\/p>\n<p>The first way \u201cThe Revenant\u201d creates the illusion is by featuring some great\u00a0performances. Tom Hardy gives such an engaging performance as John Fitzgerald, by far the most complex character in the film. Between his gruff, barely intelligible voice, his wide eyes, and his twisted moral code, Fitzgerald is such a captivating presence, and Hardy is a huge part of that. Domhnall Gleeson and Will Poulter won\u2019t get any credit for their roles, but they\u2019re both really solid in supporting roles.<\/p>\n<p><a href=\"http:\/\/www.telegraph.co.uk\/content\/dam\/film\/the%20revenant\/tom-hardy-revenant-xlarge.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" src=\"http:\/\/www.telegraph.co.uk\/content\/dam\/film\/the%20revenant\/tom-hardy-revenant-xlarge.jpg\" alt=\"\" width=\"1020\" height=\"576\" \/><\/a><\/p>\n<p>Ironically, Leonardo DiCaprio\u2019s performance as\u00a0Hugh Glass is the one that can make you remember how shallow the movie is. He definitely does a good job\u2014he manages to keep you interested and invested for the bulk of the 156-minute running time that\u2019s focused on him, in the same way that Robert Redford gave a silent solo performance in \u201cAll is Lost.\u201d But the best performances of the year are usually performances that convey all the nuances and complexities of the character, and Hugh Glass isn\u2019t really a nuanced or complex character. Hardy is able to squeeze every ounce of complexity that he can out of Fitzgerald\u2019s dialogue, but DiCaprio doesn\u2019t particularly do anything to transcend the lack of characterization on the page. He plays what he\u2019s told to, and does a fine job.<\/p>\n<p>By seeing Glass go through so much shit trying to survive, you realize the whole journey is fairly one-note. There are interesting new challenges and new survival tactics that come up throughout the movie\u2014like, of course, the scene of Glass removing a horse\u2019s organs and then curling up to sleep inside its body\u2014but the bulk of his journey is just slow recovery and the struggle to survive.<\/p>\n<p>Unlike Fitzgerald, there isn\u2019t much inner psychology going on with Glass. He\u2019s driven to survive by the desperate need to get revenge on the man who killed his son. He feels grief over his dead son, and the dead Native American woman who gave birth to him. That\u2019s about it, honestly.<\/p>\n<p><a href=\"https:\/\/flavorwire.files.wordpress.com\/2016\/01\/leonardo-dicaprio-revenant.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" src=\"https:\/\/flavorwire.files.wordpress.com\/2016\/01\/leonardo-dicaprio-revenant.jpg\" alt=\"\" width=\"1280\" height=\"795\" \/><\/a><\/p>\n<p><strong>[Spoilers for the next three paragraphs.] <\/strong>If there\u2019s one central theme that \u201cThe Revenant\u201d seems to explicitly be going for, it\u2019s this idea that revenge is best left for the Creator, whether that means nature or some nebulous spiritual force like God or fate. This isn\u2019t a bad idea for a revenge thriller, honestly. The real-life Hugh Glass, after tracking down John Fitzgerald and confronting him, decided not to kill him because of the heavy penalty for killing a soldier. This could\u2019ve been incorporated well into the heavily fictionalized film to fit in with this theme of mercy and the relief of letting go of your desperate anger, but nope. Glass goes ahead and, effectively, kills Fitzgerald.<\/p>\n<p>The most frustrating part of this isn\u2019t that Glass goes back on the lesson he heard earlier. The movie could\u2019ve easily made it appear like Glass considered showing mercy, then gave in to his anger and bloodlust. The frustrating part is that the movie acts like he <em>is<\/em> showing Fitzgerald mercy. Sure, he shoots him in the shoulder, stabs him in the gut, and sends him downriver to a group of ruthless natives who will undoubtedly seal Fitzgerald\u2019s fate\u2014but apparently since he didn\u2019t deal the actual killing blow, he\u2019s leaving the revenge to God.<\/p>\n<p>And then the last few minutes depict one final scene of stumbling through the forest, with Glass imagining his dead wife\u2026and, in the last shot, turning to stare straight into the camera. I gotta say, that\u2019s a pretty dumb, self-important final shot. Does it really mean anything, or does it just seem like it\u2019d be the cool, artsy thing to do?<\/p>\n<p><a href=\"https:\/\/pmcvariety.files.wordpress.com\/2016\/01\/artisans-thumbnail-the-revenant_clean.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" src=\"https:\/\/pmcvariety.files.wordpress.com\/2016\/01\/artisans-thumbnail-the-revenant_clean.jpg\" alt=\"\" width=\"1920\" height=\"1080\" \/><\/a><\/p>\n<p>Yeah, you could read more themes into the story. You could say it\u2019s about the battle between man and nature, or the fundamental cruelty of humanity, or something. But I got the same sense I got from the last Alejandro G. I\u00f1\u00e1rritu movie, \u201cBirdman\u201d: a lot of the movie seemed like it was supposed to be meaningful, but it really wasn\u2019t. I guess that\u2019s why people call his movies pretentious; there\u2019s this appearance of meaningfulness that the movie itself doesn\u2019t actually back up.<\/p>\n<p>Still, if all of I\u00f1\u00e1rritu\u2019s movies <em>are<\/em> that way, like I said, this one does a pretty great job of maintaining the illusion. There\u2019s a lot of people who are responsible for that; the production design, costume design, makeup, and visual effects are all pretty perfect. I mean, that bear attack alone is worth some recognition.<\/p>\n<p><a href=\"http:\/\/cdn2.thr.com\/sites\/default\/files\/imagecache\/scale_crop_768_433\/2016\/02\/rev-247.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" src=\"http:\/\/cdn2.thr.com\/sites\/default\/files\/imagecache\/scale_crop_768_433\/2016\/02\/rev-247.jpg\" alt=\"\" width=\"768\" height=\"433\" \/><\/a><\/p>\n<p>But by far the biggest asset to \u201cThe Revenant\u201d is Emmanuel Lubezki, who has a ridiculous track record at this point. It\u2019s difficult for me sometimes to tell where the director\u2019s work ends and the cinematographer\u2019s begins, but I have to imagine that a lot of the amazing camerawork in \u201cBirdman\u201d and \u201cThe Revenant\u201d is really thanks to Lubezki\u2019s creativity and flawless execution. Without the disorienting distortion of Lubezki\u2019s fisheye-esque shots, without the protracted Steadicam takes, without the visceral visual immersion of the brutal battle scenes, without the stunning visuals of wintery forest landscapes and frigid mountain ranges, \u201cThe Revenant\u201d would not be nearly as captivating as it is.<\/p>\n<p><a href=\"http:\/\/thepandorasociety.com\/wp-content\/uploads\/2016\/01\/The-Revenant-Landscape.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" src=\"http:\/\/thepandorasociety.com\/wp-content\/uploads\/2016\/01\/The-Revenant-Landscape.jpg\" alt=\"\" width=\"940\" height=\"545\" \/><\/a><\/p>\n<p>And \u201cThe Revenant\u201d really is captivating. Its running time could probably shaved down a little (maybe just 10 or 15 minutes, so Glass\u2019s recovery doesn\u2019t feel <em>too<\/em> easy and unrealistic), and maybe that\u2019d be a better choice for a focused revenge story\u2014maybe I\u00f1\u00e1rritu would\u2019ve been better off in general trying to tell a focused, visceral revenge story instead of this faux-meditation on nature and death and life and retribution or whatever. But that\u2019s not what Alejandro G. I\u00f1\u00e1rritu likes to do. He doesn\u2019t like to tell modest, low-key stories. He likes to shoot for the sky, even when there\u2019s nothing up there.<\/p>\n<p>Grade: <strong>B<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>There\u2019s a phrase that gets thrown around a lot: \u201cstyle over substance.\u201d Movies that embody this phrase are often visually exciting and unique, but they\u2019re shallow on a thematic level. Sometimes, being shallow is okay; action movies benefit greatly from style, so even some clich\u00e9 entries in the genre (like this year\u2019s \u201cThe Man from [&hellip;]<\/p>\n","protected":false},"author":2178,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts\/7380"}],"collection":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/users\/2178"}],"replies":[{"embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/comments?post=7380"}],"version-history":[{"count":4,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts\/7380\/revisions"}],"predecessor-version":[{"id":7385,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts\/7380\/revisions\/7385"}],"wp:attachment":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/media?parent=7380"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/categories?post=7380"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/tags?post=7380"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}