DiCaprio in Western hardness test: The Iceman Cometh – Tagesspiegel

11:12 clock By Kai Müller <- self.position: -1 -> <- classid: hcf inline-left -> <- position: left -> <- inisprint: false -> <- inhaspic:! true ->

A half-dead man takes revenge: Leonardo DiCaprio fights in Alejandro G. Iñárritu’s epic “The Revenant” through the snow

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How ugly it will be, announces the bursting sound of arrows. There are Indian arrows. If Indians their ridiculously old-fashioned weapons fire in the cinema, is the probability of being hit by one of those wooden things, small for classic Western hero. Altes Kino Law: The white man has the more dangerous weapons. In Alejandro G. Iñárritu nature drama “The Revenant” is different. The repeater is not yet invented to 1823rd So crack arrows in the bodies of a surprised attack from the Indian group of trappers. They pierce their flesh, leave bone splinters. The violence hisses like an own elementary truth through the air. It is the truth of the war, after which it is chance to be hit or to survive.

This truth has the violence magician of the cinema, the Mexican director Alejandro G. Inárritu (“Amores Perros,” ” Babel “,” Birdman “), set in a kind of monumental early Western on the track. It tells the story of the hunter historically documented Hugh Glass, who so well versed in the plains between St. Louis and the Rocky Mountains, that he is an expedition on the Missouri River as Scout

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The West is here not taken by settlers in possession but uncharted territory, in the fur traders penetrate. It is a wild bunch of frightened, rude men, which Glass has joined with his half-Indian son. In the massacre he just comes up it to be incurred shortly thereafter by a grizzly bear. The angry, merciless animal shredded him with his claws the skin, tearing his throat, but it did not kill him. When the trapper leaving the severely injured in a valley, two remain from the group as well as Glass’ son at the gasping on a stretcher and drifting between dream and delirium man. Helpfulness is not what he would expect.

Leonardo DiCaprio plays Glass as a taciturn loner. With a bushy beard and glowing look. He does not trust anyone and reigns to his teenage son to keep it well, especially with respect to the boorish men. It’s no use. As a half-dead man he must watch as the dagebliebene for his protection Trapper Fitzgerald the boy pushes the knife in his belly. He also is charged even

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At this point, would “The Revenant” a film may be about justice. But Hollywood has this Zivilisierungsaspekt all of Western culture long since abandoned. Instead, it comes Inárritu for vengeance, an evil, archaic feeling, however, of great driving force that “The Totgeglaubte” (German in Malik Verlag) sets the tone already in Michael Punkes novel: “With all the strength he could muster, he rolled be. on the belly He could feel the seam burst open, then warm blood wet on the back. The pain vanished from the wrath which aufbrandete in him. Hugh Glass began to crawl. “