After some changes in the original script, the director extends several biographies of famous personalities among American trappers Glass, introducing the history of a young son,born of an Indian tribe from the Pawnee, the settlement of which was later destroyed by the white man colonizers from Europe. Although a pioneer and had a positive and fruitful dialogue with some indigenous tribes of the then completely unknown continent,a screenwriting course only added drama to the picture of one of the driving forces for the survival of the protagonist in the name of revenge for his son's death which was to blame for the hunter John Fitzgerald. Having undergone the most severe attack Dipper, Hugh Glass, to the dismay of Fitzgerald, volunteered to stay with him and buried after a quick death,I do not want to die. The thirst for money and the fear of reaching Arikara warriors followed, pushing John to involuntary manslaughter and fleeing, leaving the half-dead Hugh poluzakopannoy grave. Personal motives Glass in the film, which became in favor of artistic transcriptions of historical fiction, effect on the story itself,dipping hero in a surreal dream in which it returned to those whom he loved. The director is in a hurry, showing each wave of the hand, every breath of the protagonist on the difficult path to the reviving of life, contrary to the wild, completely inhospitable for its winter cold and permeates winds.About two and a half hours, Iñárritu shows history background which can hardly be called early in the Wild West, as an absolute realism with which the director talks about the survival of the Glass did not fit in with the warm and sandy westerns that have incorporated numerous cowboy traditions and clichés .Limit naturalism, not for money, but for the sake of ideas, with the absence of additional lighting and a maximum minimum of computer graphics, which is completely invisible even to the most responsible and the climactic scene, tangibly conveys the breath of wild nature, the conquest of which the director went with the whole film crew,
making with proven operator Emmanuel Lubezki actors play long takes. The camera of the latter, using a wide range of optics, not only removes the panoramic scene of non-stop attack on the Indian squad of hunters or shocking in his natural aggression animal nature,but also captures the beautiful scenery of snow-capped mountains, damp forests melt streams, sometimes snatching really rare natural moments without any light and color processing. Steeped in history the Glass pavilion in addition to a complete lack of shooting, promotes a detailed props and costume work is noticeable,who did not convert the Indians in Roma with feathers and colonialists gave no recent warm castoffs.
Stands out among contemporary films, Inarritu tape attracted the participation of two great actors, a second screen tandem which, after nolanovskogo "Start" feature instantly reaches its climax.It has long been listed in the list of favorite actors Leonardo DiCaprio and Tom Hardy are facing opposite characters to death that makes moving away from their screen heroes, cheering for everyone. DiCaprio surprises full commitment to his character and intentions following the staging tape, trying on almost all testsGlass goes through, it is not afraid of difficulties on the set. This is not the best role of his career, but one of them, and in comparison with past winners, it is meritorious, as though it may sound funny. Tom Hardy to the finale of the film becomes simply unrecognizable in complete transformation in nenavistlivogo and greedy Fitzgeralda cool look mad eyes give the actor. The final battle of heroes, bloody and dirty, is perceived as something rare and valuable. In the background, the young Will Poulter is not able to beat Domhnall Gleeson, but little more remembered for his role as unwitting ally Fitzgerald, showing charactertoo gullible and weak semi-wild in the undeveloped world.
«The Revenant», with only a few active scenes might well be called existential westerns as the survivor path brightened not only meeting one on one with nature and dreams of forever, but the music is filled with voluminous shipped from Riutta Sakamotoif a follower of Akira Yamaoka, masterfully creates sticky atmosphere in which the Spirit of the Glass on the road of vengeance. Like the real world, where peaceful beauty happily coexists with human cruelty, tape justify the rating R, leaving naturalismable to push away from watching too squeamish or impressionable scenes mixed with snow and earth saliva and blood, though living shooting time shifts the focus on the characters, the story of which does not deserve life-affirming finale, or the triumph of the return as a strong desire to live moved by revenge, as you know, something incapable of
any change.
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