There’s something to say for good filmmaking, and that’s what The Revenant is — good filmmaking. It is a film that comes alive in its cinematography, editing, and sound. However, I think it’s the restraint on these factors that takes it to great, and at times, impossible filmmaking. Starring Leonardo DiCaprio and directed by last year’s Oscar winner for Best Director Alejandro González Iñárritu, The Revenant follows the true story of Hugh Glass (DiCaprio), who goes on a journey of survival and revenge. There are films that really shouldn’t be researched before watching, and this is one of them. However, because of the high-profile nature of the film — thanks to the fact that Leo might actually finally win an Oscar — that has largely been impossible. If you can’t bear it, take a look at the trailer, however, if you were somehow able to dodge anything about the movie, I would go in with fresh eyes.
Despite my plea in the last paragraph, I am going to talk about a scene in the film. The first one to be exact. It covers a battle between a Native American tribe and the group of hunters and trappers that Glass is working with. The film opens with a steady, but off-putting shot of pristine wilderness. Off-putting because of its calmness — a feeling you’ll be grasping for throughout the movie — and because of the fact that most of the movie was filmed using natural light.
With all respect due to DiCaprio, the real star of this film is the cinematography by two-time Oscar winner Emmanuelle Lubezki whose work in the film rivals his own in “The Tree of Life.” While his work in his two winning films — “Gravity” and “Birdman” — are truly outstanding, his work in this film is the kind that will be taught to future generations of filmmakers. Battling with a frigid temperatures, Lubezki decided to film solely with natural light.
“We wanted to make a movie that was immersive and visceral… The idea of using natural light came because we wanted the audience to feel, I hope, that this stuff is really happening.”
-Emmanuelle Lubezki
This decision alone elevated the film to not only become a story of revenge, but that of an appreciation and fear of nature’s force. It heightened the stakes and helped enhance the performances by letting them take the forefront, rather than hiding expressions behind studio lights.
Not only does this scene establish beautifully the stylistic tone of the film, it shows reverence for nature, which is both a beast and ally in the movie. That is until it is disturbed by Glass and his son. We then jump to the campsite where the rest of the group is camped out. An eeriness hushes over the group when they catch wind that they are about to be attacked. So begins an epic one-take shot of the battle that rivals Lubezki’s own work in “Gravity.” It’s this tension, followed by pure and unadulterated violence, documented in a sure and gorgeously directed manner that perfectly sets up the film.
So begins a tale of survival, revenge, spirituality, life, and death.
Despite the absolutely thrilling first two acts, the film loses its footing in the third — which could be attributed to the fact that the film almost wasn’t done in the first place. Where the first two acts flowed with sweeping one-take shots, natures own white noise, and the gripping expanse of both the plot and the environment, the last feels clumsy, spastic, and over-produced.
There are performances, then there is what DiCaprio did, which is dedicate himself to his art. His performance is one of brute force that is only enhanced by the fact that he has very little dialogue, which is spoken in two languages. In very few films has DiCaprio disappeared into a role, but this is the first that he has truly been immersed.
That is not to take away from the phenomenal work done by Tom Hardy, Will Poulter, and Domhnall Gleeson (who is having an amazing year with “Brooklyn,” “Ex Machina,” and “Star Wars” on his filmography.
My biggest criticism of “The Revenant” is that the overall plot is really not there. It’s emotionally flat and other than the revenge aspect, there’s very little to follow. When the film actually does show any semblance of a plot, it feels clunky, which is why the third act fell so badly.
“The Revenant” can be seen in many ways. A period piece, a revenge film, a survival film, a “bro” film. However, the one vein that runs through all of these classifications is its level of difficulty and its level of success despite. Seemingly impossible one-take shots, a surprisingly emotional arc, and gorgeously realized design, “The Revenant” is one of those films that you leave the theater not being able to speak until you leave out of respect.
It has its flaws. Its grand visuals are sometimes bogged down by self-important emotional drives, its restraint sometimes wasted in repetitive indulgence, and its last third rushed. However, it’s easy to get lost in story, mostly thanks to DiCaprio’s performance. Will you leave the theater as satisfied as you’d hope? Most likely not. Its epic scope is somewhat squandered towards the end and what should be an emotionally resonant story ends up feeling flat.
6/10
Buy or Rent The Revenant on Amazon!
Hey, I'm Karl, founder and film critic at Smash Cut. I started Smash Cut in 2014 to share my love of movies and give a perspective I haven't yet seen represented. I'm also an editor at The New York Times, a Rotten Tomatoes-approved critic, and a member of the Online Film Critics Society.