One might Alejandro Inarritu “The Revenant” seen as contribution to the debate on global warming. The epic two and a half hour movie are tough, oh what, härtestens bought. Because nowhere was more snow, not even in the Arctic foothills of British Columbia, the team for the filming moved to the top of Tierra del Fuego. The name of this South Pole nearby province of Argentina, when you see the film, its actually only meant ironically. We have destroyed nature, or at least brought out of balance. Now it’s us again really as dead Felt revenants, as the avenger, who came in from the cold. “The Revenant” is a feast for masochists with frostbitten souls.
Especially Leonardo DiCaprio must believe in it. In the Indian attack, for allegedly it went one month preparation and endless takes, it remains spared. Among all zoom whizzing arrows that pierce the gurgling of his trappers colleagues smacking, he ducks away. With his last strength he climbs a boat and goes grim, almost a little disappointed that everything has gone off so smoothly, down the river. Long he no longer has to wait for a scene in the film world has been waiting on the other hand a long time. Since “Jaws” has a human trimmed horrible no canvas animal.
Besides a maximum of “Jurassic Park”, but there was a always bear in mind that the lizards no egg, no more than were escaped an iMac. Now plucks an apparently environmentally moving Grizzly mother DiCaprio, as if he were a lettuce, stops him just below the Sabberhahn and puts it in the spin – the high-priced model with 20 centimeter long claws and fangs, bye, bye Thermomix
Half Past Dead to read it on his Mitt rapper and patch it together rustic. He is feverish, running as icy blue like the morning sky in Emmanuel Lubezkis relentlessly magnificent pictures. Allegedly the freezing temperatures – up to 25, felt 40 – similar to the camera equipment added as the crew, the droves defected from the set or was kicked out of a relentless Iñárritu. The director put it, that the spirit of relentlessness, the real agony again and looped back over the permafrost were in the naked actor and DiCaprio rise every five minutes in icy rivers, plunging off cliffs or bite into bloody Bison livers had, down on artwork would be transferred. He was right
“The Revenant” is remembered as revenants of “Fitzcarraldo” and “Apocalypse Now” in the story, which indeed been lost in a surreal swirl of fiction and reality, with budgets that climbed the highest peak and disappeared on the longest rivers whose film crews so insane as were its protagonists.
In dramaturgical and narrative dimensions opulence, the three masterpieces same. What “The Revenant” is different, is the rational principle. DiCaprio denies the madness that lurks at every turn. In one tends brutalized Horde, in which the few people-like can not prevail, he insists on the dignity and self-determination. Euthanasia is not an option for him. He had to watch as white soldiers shot his Indian wife and son – at Karl May it would have meant: a half-blood – disfigured with stigmas. So he is, before he returns as undead, always a frontier between two worlds – the barbaric civilization of the Americans and the French, the marauding in the woods, and the civilized barbarism, as he experienced with the Indians
<. h2 class="prefix_1"> Dumb people, speaking weapons
In a frenzy, in a fever, so in a dream, he prays to the trees that Iñárritu again seconds moves into the picture sharp taken from below, with rushing, billowing tops, metronomes of infinity, as to us to remind you that it is really here to Art. It would not have been necessary.
Especially in these moments, the grim revel in itself, the images that are on ice, that they show seems It would be as Werner Herzog behind the camera. Eben of “Fitzcarraldo” director, but yes also the incredible documentary “Grizzly Man” has made a collage of the real footage of a fatal love. Iñárritu is better this time than ever before, because he, as indeed is also the Duke case, refrain from any morality.
The apparently succeeds when worlds sketches, which are themselves immoral, definitely not politically correct. So unlike the globalization epic “Babel” or the conversion Kitsch “Biutiful”, more like in his ultra-realistic, ultra-hard debut “Amores Perros”. Inevitably, is now accused of having constructed an emotionally starved, antiquated macho universe. Even before the Bears attack DiCaprio is not a great orator. Afterwards he laid himself fully on wheezing, though perfect in form. In “The Revenant” people are dumb, speak the cannon.
Here Hemingway / Bible because Austen / Homer
The in a reproach to coins, is petty and pathetic. It is, after all merely an aesthetic that maybe subject to fashions, but never can be invalid. The literary critic Erich Auerbach explained in his major work “mimesis” the realism in modern literature with a kind of double helix of psychology and anti-psychology. While Homer is no trick of consciousness could be uncommented in the “Odyssey”, the Old Testament verschlösse any exploration of the heart and not just describe things by their motives, but its external effects. In principle, this is nothing more than Hemingway versus Jane Austen. The filmmakers would, for example, Woody Allen in the tradition of Jane Austen / Homer, however Duke or Iñárritu strictly in the Hemingway / the Bible.
The joke is based is that the psychology just in the anti-psychological representation plays the biggest role. Through its obfuscation they will more clearly disclosed. You simply communicates through other characters. In their brusqueness she is self-explanatory. And even in the silent men cosmos that “The Revenant” designs in which DiCaprio tear the vocal cords and his adversaries into mumbles toneless in itself, is not the slightest doubt as to the motivations and mental states. You could eloquent not be.
A verlotterter Nietzschean, a vagrant Machiavellian
In a way, the whole inhospitable environment – the Eisbäche, wolf pack, Blizzard, fir forests – to the spiritual geography of the hero. As of rational zombie staggers and crawls DiCaprio his only raison d’être contrary, of vengeance. On the other hand this vector line that, practically undresses for an experienced scout like DiCaprio, as a track through the snow, flees a disfigured beyond recognition Tom Hardy before the ghost that he has summoned. From lowest motives, perhaps not even so much out of greed than from total indifference to the suffering of others.
Hardys character is a verlotterter Nietzschean, a vagrant Machiavellian, a loose followers of Hobbes and Stirner. Egomania and manipulation conduct his actions, perhaps incipient paranoia and galloping madness that places any case be erratic look close, the only escapes, as it would any conversation a duel that he does not love. He has preferred to ambush.
In a brilliant sequence in which exactly the right time lacks an avalanche that has buried only symbolically among themselves the wicked, is this force of a film to the end. DiCaprio enforced revenge not themselves. As with the Oscar , the long waits, choose another.
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