January 16, 2016

Humanist Film Review: The Revenant (2015)


Director: Alejandro G. Iñárritu
Writers: Screenplay by Mark L. Smith and Alejandro G. Iñárritu, based on the novel by Michael Punke 
Stars: Leonardo DiCaprio, Tom Hardy      

The Revenant is a film about several different things. It's about willpower, it's about love, it's about loyalty, it's about man versus nature.  But most of all, it's a story about revenge.  The movie is a fictionalized account, based on real life events that happened to legendary nineteenth century frontiersman Hugh Glass, of a fur-trapping guide (DiCaprio) who is mauled by a grizzly bear, and then abandoned by members of his company who are supposed to be tending to him until he dies.  The man responsible for leaving him, John Fitzgerald (Hardy), also kills his son right in front of him while the crippled Glass watches powerless.  Glass then must, through incredible willpower and survival skills, somehow find a way to survive the harsh winter wilderness alone and gravely injured; and ultimately not only does this, but also sets out to track down Fitzgerald to get his revenge.

Normally, a revenge tale would not be of much interest to me.  The concept of "revenge" to me is just doing wrong for the sake of doing wrong; it doesn't fix anything in and of itself, but rather just causes more suffering.  And most of the time, films about revenge seem to reflect this.  However, as I began to learn more about The Revenant in the months leading up to its release, I eventually realized it would be a must see.  The main reason for this is the incredible cinematic experience it provides.  The film is not only engrossing and keeps you on the edge of your seat from start to finish, but it is also immersive and feels incredibly real.  This is due in large part to the filmmakers' dedication to absolute realism throughout most of the movie.  Shot on location in harsh winter wilderness in Canada and Argentina, and with all natural lighting, the setting looks stunning and feels completely real. The mark of master cinematographer Emmanuel "Chivo" Lubezki is keenly felt, particularly in the camerawork, often giving an uncanny feeling of being a spectator right within the action.  The film is also carried by a host of impressive performances, particularly from DiCaprio and Hardy.  DiCaprio finely executes the intensely physical demands of  his role, and Hardy acts and sounds more believably like a man from the 1820's than perhaps any other actor in the movie.  There are points where the story and the action stretches the boundaries of believability slightly, but overall the film remains rooted in realism and is an incredible cinematic achievement. 
                                   
Going into the movie, however,  I was still unsure of whether the film would go beyond the typical scope of most revenge stories and find something original to say.  To its credit, beyond the revenge thing, it does explore several humanist themes throughout.  The most prominent of these for me is the incredible power of the human will.  This is displayed through the character of Glass as you watch him overcome injuries that bring him near death, deadly forces of nature, and hostile enemies.  It would be nice to see a bit more insight into what is driving Glass to keep pushing on, but it's evident that he has a fire within him that will not be extinguished easily.  The most obvious answer is that he is motivated by a desire to not just survive, but also to get his revenge.  Though this may be true, I was happy that the ending managed to create a bit of an original twist on things.  Without giving away too much, I'll say that there is some ambiguity over whether Glass feels fulfilled by his efforts to avenge the wrongs that have been done on him.  This is summed up by an instance near the end, where Fitzgerald says to Glass something along the lines of "your boy ain't comin' back", and this seems to cause a change in Glass, though it's hard to tell exactly what.  Basically, the film lets you decide the ultimate result of Glass's journey. And it also makes you think a little bit about the morality and utility of revenge, something I can appreciate.

The Revenant is overall an incredible film. See it for the experience, but while you're at it think about the many themes it so keenly taps in to.            
  
Sources:
Image: http://www.fandango.com/movie-news/the-revenant-trailer-watch-leonardo-dicaprio-fight-a-bear-and-tom-hardy-749539
http://www.imdb.com/title/tt1663202/?ref_=nv_sr_1
http://www.imdb.com/name/nm0523881/?ref_=ttfc_fc_cr22

January 6, 2016

Humanist Film Review: The Danish Girl (2015)


Director: Tom Hooper 
Writers: Screenplay by Lucinda Coxon, based on the novel by David Ebershoff 
Stars: Eddie Redmayne and Alicia Vikander 

A few days ago I heard some news story on TV about how Democratic presidential hopeful Bernie Sanders was interrupted during a speech by a heckler carrying a sign that read "Obama is as Christian as Bruce Jenner is a woman".  My first reaction was of disbelief and disgust, that not only was someone still insisting that President Obama isn't a Christian, but would be bigoted enough to deny transgender celebrity Caitlyn Jenner the gender that she identifies with.  But then it got me thinking a little bit.  What if the man was right? I mean what actually defines someone as being a woman or a man? Is it solely based on how you see yourself, or do you always carry some designation based on the anatomy you were born with? Luckily, the debate in my mind didn't last long. I live in the 21st century, and I understand that gender identification is a legitimate thing, so I have no problem with someone who was born with male anatomy calling themselves a woman.  But these questions are still important to ask, if nothing else to help draw up a distinction between gender identification and biological gender, something that many people don't understand.  These questions are quite squarely answered, in fact, by a new movie out called The Danish Girl.   

This film tells the true story of the Danish painter Lili Elbe (Redmayne), who in 1930 became one of the first people to undergo sex reassignment surgery.  The events involving the surgery take place towards the end of the movie, with the majority of the film focusing on Elbe's transition (both inward and outward) from male to full female, and the difficulties this involves, including the turbulence caused in her relationship with her wife, Gerda Wegener (Vikander).  The film is beautifully crafted, and is a tender and realistic portrayal of the turmoil faced by a person who realizes they no longer feel any connection with the body they were born with. Redmayne is exceptional and utterly believable in this role, and displays a transformation from beginning to end unmatched by perhaps anything I've seen, save in his take on Stephen Hawking in 2014's The Theory of Everything (credit is also due to the excellent job of the makeup department).  Vikander, meanwhile, matches his performance by adding an exceptional realness to her character and effectively encapsulating Wegener's struggle to reconcile her desire to be there for Elbe with the knowledge that she is losing her husband in the process.  The film is also gorgeously shot, interspersing sweeping images of scenery between scenes, hinting at the broad scope of its themes. 

Not surprisingly, Elbe faces great hostility from many of the people she must interact with during the course of her transition.  Feeling herself that there is something not right with her, she goes to see several doctors, most of which propose inhuman treatments or simply label her as insane.  These people have the classic, simplistic view that the body you are born with determines exactly what gender you are. But the film adamantly suggests that this is not true.  When Elbe decides to try one final doctor, she openly tells him "You probably think I'm crazy, but I believe I'm a woman born in a man's body".  Miraculously the doctor replies, "Some people think I'm crazy, but I believe you".  This is the doctor that ultimately performs the surgery on Elbe allowing her to finally feel free.  From the title itself, to lines like these, the film suggests that gender can be based on one's sense of identity, not just ones's body, a concept that sadly many people evidently still don't understand.  In addition, just as Elbe has served as an empowering figure for transgender people for years, The Danish Girl has an empowering message that we should all strive to be exactly who we want to be, as well appreciate the individuality of all of our fellow human beings.                    

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