Actually, it should go to Leonardo DiCaprio in this text. He is the superstar, playing in “The Revenant” starring, sat for hours of make-up sessions and snowstorms made, is treated as a hot contender for the Oscar. Chances are that Academy loves extreme transformations like those of DiCaprio in a trapper of the 19th century, the one hardly recognizes under Zauselbart, greasy leather jacket, dirt, sweat, tears and various scars.
The secret star of this hybrid of revenge and snow-Western, Adventure and Survival existentialist drama is but another. A rather unknown Mexicans, at least in name: Emmanuel Lubezki. He is the cameraman of the film. Next to him is his own director, Lubezkis compatriot Alejandro González Iñárritu, almost to the extras. So very dominate in “The Revenenat” its majestic monumental recordings and his trademark, the long tracking shots.In the film world Lubezki is already a legend. What DiCaprio for so long waiting, standing at the man twice at home in the closet: two Oscar statuettes. 2014 he was awarded for his camera work in “Gravity”, 2015 for Iñárritu’s “Birdman”. 2016 he could bring the Triple. Never before had a cameraman did it.
Undeniably Lubezki is a really big one, and also “The Revenant” he transforms places into a furious pictures extravaganza. However – and the weaknesses of this film that make it such a contradictory experience, go to a large extent on Lubezkis Account
If things go well, then sucks Lubezkis camera with her floating movements the audience literally in what is happening inside.. As at the beginning of “The Revenant”. Since the wide-angle lens follows slowly and reverently the trapper Hugh Glass (DiCaprio) and his son while hunting in the forests of South Dakota. It’s 1823, and North America is still a largely unexplored continent. Glass leads a squad of fur traders in the wilderness, destination is a fort at Grand River. An attack by natives, however, the group strongly decimated, and shortly thereafter Glass is attacked by a bear and nearly killed.
Two men have stayed with the severely injured, while the others get help. But no sooner are the other fort, killing of fur traders Fitzgerald (Tom Hardy) Glass’ son and flees. The seemingly death consecrated Trapper it leaves in a hurry shoveled grave. Glass, however, does not die. The thought of revenge keeps him alive.
He splints his broken leg itself. Creeps miles through the wilderness. Kaut roots and leaves. Swims across icy rivers. Stayed in hollowed abdomen of a dead horse. Is just pissed, man. And looks so dark that Charles Bronson against his revenge acts like an Osho disciple in Jesus sandals.
Dopey actually that you could make almost invariably funny about this story. Because with humor it has Alejandro González Iñárritu actually not so. With its dark, simply brilliant debut “Amores Perros” He became world-famous overnight. The films that followed, waded increasingly spiritual flat waters, somewhere between überambitioniertem conscience Drama and Self Help Guides. That was also in his last film “Birdman” otherwise, and that was supposed to be a comedy.
Guys who have for months not bathed
holy seriousness filmed Iñárritu now the true story of Hugh Glass, a figure of American folklore. Little is known about the exact circumstances of Glass’ odyssey. The more value put the director on the historical accuracy of his film. He turned in the most difficult conditions in remote, almost untouched land strokes Canada and Argentina. All performers had a Trapper Boot Camp survive. The materials used for costumes and buildings comply with the then state of the art. to put
The audience at the time of the early 19th century and to sympathize with him, the conditions under which men like Hugh Glass were living in and with nature, which is the declared goal of Iñárritu. If even partially. The actors look like guys who have not bathed for months and eat damn unhealthy. Glass’ fight with the bear looks spectacular and frightening realistic. Ever is the nature of the actual actress, merciless, cruel and sublime.
At this effect has Lubezkis fluid camera large proportion. As an ethereal spirit she floats through majestic forests and endless, snow-covered plains. This quiet, gliding camera movements are typical of his style. Just as Lubezkis long tracking shots. Culminating in “The Revenant” is the attack of the natives, whom he filmed in a number of minutes ending long take . The camera glides through the raging as independent of her and around her struggle, elegant and all-knowing.Increasingly, however, these images are themselves in the way. The more Iñárritu charges nature with the pathos of the numinous and wants to conjure up the sheer wonder of being, the more glide Lubezkis images into empty ostentation. Again and again shooting against the light, the moon behind clouds, untersichtige settings, turn our gaze skyward upwards. How very Lubezkis can lead monumental style also to narrative Total standstill, showed recently completely wayward Terrence-Malick movies “to the wonder” and “Knight of Cups,” which he also photographed.
“The Revenant “really want to talk about the big, directed to the soul inside of issues in all authenticity outdoors. Who are we people in the face of death? What gives our lives meaning? What elevates us above nature, we are part of it? May we kill, we must avenge? Iñárritu and Lubezki a spectacular survival thriller succeeded. Your answers to the big questions, however, have the depth of a Mural.
In Video: The trailer for “The Revenant – The returnees”
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