The Revenant (US-Hong Kong-Taiwan, 2015)

Trying to do decent

It was probably my year in purdah that meant I missed seeing this brilliant film in the cinema. 2016: the year of Brexit, Trump and Lacey not watching movies. Well, in the grand scale my problem was a ‘hill of beans’ but I am sorry I didn’t see this on the big screen.

There’s little point in trying to define what is the essence of cinema as it refers to many things. In the current issue of Sight & Sound Nick James talks about how the visual aspect is crucial whilst, even today with the increase of ‘quality television’, the script remains paramount on the domestic screen. I’m inclined to agree especially if editing is included.

Ironically in Iñárritu’s previous film Birdman there – apparently – was no editing and he does have a predilection for the long take; see Y tu mama tambien. He combines the fluid Steadicam movement with virtuoso editing (Stephen Mirrone) in the battle scene at the start of the film. After a killing we follow the killer until they, soon, too are dead and then we ‘catch a ride’ with his killer and so on. This is one of the most devastating battle scenes I’ve seen as it emphasises the high chances of death in war. In most film’s battle sequences we focus on the protagonist who, for obvious reasons, is highly likely to survive.

Emmanuel Lubezki’s cinematography, suitably grim winter mise en scene, is brilliant and, if I can forgive Tom Hardy’s mumble, the performances convey the blunt machismo that was probably necessary to survive beyond the frontier. The chameleon Domhnall Gleeson deserves a special mention as the decent Captain who strives to do the right thing.

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