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The Revenant (2015 film)

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The Revenant
Theatrical release poster
Directed byAlejandro G. Iñárritu
Screenplay by
Produced by
Starring
CinematographyEmmanuel Lubezki
Edited byStephen Mirrione
Music by
Distributed by20th Century Fox
Release dates
  • December 16, 2015 (2015-12-16) (TCL Chinese Theatre)
  • December 25, 2015 (2015-12-25) (United States)
Running time
156 minutes[1]
CountryUnited States
Languages
Budget$135 million[2]
Box office$410.7 million[3]

The Revenant is a 2015 American epic historical adventure film directed, co-produced, and co-written by Alejandro G. Iñárritu. The screenplay by Iñárritu and Mark L. Smith is based in part on Michael Punke's novel with the same title, inspired by the experiences of frontiersman Hugh Glass in 1823, in what is now Montana and South Dakota. It stars Leonardo DiCaprio as Glass, and co-stars Tom Hardy, Domhnall Gleeson and Will Poulter.[4]

Development began in August 2001 when producer Akiva Goldsman purchased Punke's manuscript. Iñárritu signed on to direct in August 2011, and in April 2014, after several delays due to other projects, Iñárritu confirmed that he was beginning work on The Revenant and that DiCaprio would play the lead role. Principal photography began in October 2014; problems with location and crew delayed the film from May to August 2015.

The Revenant premiered at the TCL Chinese Theatre in Los Angeles on December 16, 2015, and had a limited release on December 25, 2015, followed by a wide release on January 8, 2016. It received positive reviews, mostly for its performances, direction, and cinematography. The Revenant won three Golden Globe Awards, five BAFTA Awards, and at the 88th Academy Awards, Iñárritu, DiCaprio and Lubezki won the awards for Best Director, Best Actor and Best Cinematography. DiCaprio also won the Golden Globe Award for Best Actor – Motion Picture Drama, the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role, the Critics' Choice Movie Award for Best Actor and the BAFTA Award for Best Leading Actor.

Plot

In 1823, a crew of trappers under the command of Captain Andrew Henry hunt for pelts the Northern Plains, in unorganized U.S. territory (later the Dakotas). When Arikara Native Americans launch a surprise attack, many trappers are slaughtered. The survivors flee on a boat but the experienced guide Hugh Glass recommends journeying on foot to their outpost, Fort Kiowa. That suggestion bothers some, particularly John Fitzgerald, who is hostile towards Glass and Glass' half-native son, Hawk, because years earlier he was partially scalped by natives. The Arikara continue to stalk the Americans, believing that they are responsible for the abduction of Powaqa, the Chief's daughter.

While scouting ahead solo, Glass is badly mauled by a grizzly bear. The party find him close to death and carry him on a makeshift stretcher. Fitzgerald argues that Glass will not survive and that they should kill him to speed their journey. Unwilling to kill Glass, Henry offers payment to those who will remain with him. Fitzgerald, Hawk, and the young Jim Bridger volunteer. Henry makes Fitzgerald promise to stay with Glass until he dies and give him a proper burial.

While Bridger is away re-filling his canteen from the creek, Fitzgerald tries to smother Glass but Hawk discovers them. Fitzgerald kills Hawk as Glass watches helplessly. When Bridger returns, Fitzgerald says Hawk is missing, and Glass is too injured to protest. Fitzgerald lies that the Arikara are nearby and that they must abandon Glass; he drags Glass into a shallow grave. Bridger hesitates, but flees with Fitzgerald, leaving Glass with his canteen. Glass crawls from the grave and walks for days, slowly regaining strength and haunted by visions of his deceased Native wife. He escapes the Arikara by floating down rapids.

On their way to Fort Kiowa, Bridger realizes that Fitzgerald lied but Fitzgerald intimidates him into silence. When they arrive at the fort, Fitzgerald tells Henry that Glass died and Hawk was likely attacked by the Arikara. Henry pays Fitzgerald his reward, but Bridger refuses payment out of guilt.

Glass encounters Hikuc, a friendly Pawnee who shares bison meat with him. Hikuc has lost his family too, but says that "revenge is in the Creator's hands". They travel on horseback. Hikuc treats Glass's wounds and shelters him. The next morning, Glass finds Hikuc hanged by French pelt hunters. He infiltrates their camp and sees the leader raping the Arikara chief's daughter. He frees her, kills two hunters, and retakes Hikuc's horse. He encounters the Arikara again and escapes by galloping off a cliff, killing the horse and injuring himself. He survives the night by sheltering inside the horse's carcass.

At Fort Kiowa, a lone French hunter arrives carrying Bridger's canteen. Believing it was stolen from Hawk, Henry organizes a search party to look for him. Fitzgerald, realizing that Glass is alive, steals the fort's money and escapes. Henry's search party discovers Glass and brings him to the fort. Furious, Henry charges Bridger with treason, but Glass assures Henry that Fitzgerald lied to him. Glass insists on joining Henry to find Fitzgerald. After they split up, Fitzgerald ambushes Henry. Glass finds Henry dead and scalped.

Using Henry's corpse as decoy, Glass ambushes Fitzgerald. He chases him into the woods and they engage in a bloody fight beside a river. Glass is about to kill Fitzgerald, but remembers Hikuc's words and pushes him downstream into the hands of the Arikara. The chief, accompanied by Powaqa, scalps and kills Fitzgerald, but spares Glass.

Afterwards, Glass retreats into the forest and experiences a final vision of his deceased wife, only this time she smiles before disappearing.

Cast

Production

Crew

Development and financing

Director Alejandro González Iñárritu

Development of The Revenant began in August 2001, with producer Akiva Goldsman acquiring the rights to Michael Punke's then-unpublished manuscript for The Revenant.[11] David Rabe had written the film's script.[12] The production was picked up by Park Chan-wook, with Samuel L. Jackson in mind to star. Park later left the project.[13][14] The development stalled until 2010, when Mark L. Smith wrote a new adaptation of the novel for Steve Golin's Anonymous Content. In May 2010, Smith revealed that John Hillcoat was attached to direct the film and that Christian Bale was in negotiation to star the movie.[15] Hillcoat left the project in October 2010.[14] Jean-François Richet was considered to replace him[14] but Alejandro G. Iñárritu signed on to direct in August 2011.[16] Goldsman was also confirmed to be producing with Weed Road Pictures.[16] In November, New Regency Productions joined to produce with Anonymous Content, and 20th Century Fox was confirmed to be distributing the film.[17][18] Days later, Iñárritu stated that he was seeking Leonardo DiCaprio and Sean Penn for the two lead roles.[19]

Once Iñárritu agreed to direct, he began working with Smith on script rewrites. In an interview with Creative Screenwriting, Smith admitted during this process he was unsure if Iñárritu would even be able to film some of the sequences they wrote. He recalled, "He would have some ideas and I would say, 'Alejandro, we can’t pull this off. It’s not going to work,' and he would say, 'Mark, trust me, we can do this.' In the end, he was right."[20]

The film was put on hold in March 2012, as New Regency hired Iñárritu to direct an adaptation of Jennifer Vogel's tome Flim-Flam Man, a non-fiction book about her criminal father.[21] Penn was also under consideration for the lead role in that film.[22] In December 2012, Iñárritu announced that his next film would be Birdman or: (The Unexpected Virtue of Ignorance), a comedy about an actor who once played a famous superhero. For his work, Iñárritu won the Oscar for Best Director and Best Original Screenplay, and the film won Best Picture. Filming took place in March 2013.[23] Iñárritu was scheduled to begin production on The Revenant after Birdman wrapped.[24]

The film was granted a production budget of $60 million, with $30 million funded by New Regency. Brett Ratner's RatPac-Dune Entertainment, a joint venture between Ratner's RatPac Entertainment and 20th Century Fox's former financing partner, Dune Entertainment, also funded the film.[17] Worldview Entertainment, who also co-financed Birdman, was originally set to fund the film[24] but backed out in July 2014 due to the departure of CEO, Christopher Woodrow.[17][25] New Regency approached 20th Century Fox for additional funding, but the company declined, citing the pay-or-play contracts made for both DiCaprio and Tom Hardy, which would require that the actors be paid regardless of whether the film is completed.[25] Annapurna Pictures' Megan Ellison entered negotiations to finance the film shortly after.[17][25] The Chinese company Guangdong Alpha Animation and Culture Company partially financed the film.[26]

Filming

Principal photography for The Revenant began in October 2014. Iñárritu was insistent that computer-generated imagery not be used to enhance the film, stating: "If we ended up in greenscreen with coffee and everybody having a good time, everybody will be happy, but most likely the film would be a piece of shit."[27] A planned two-week break from filming in December was extended to six weeks which forced Tom Hardy to drop out of Suicide Squad. In February 2015, Iñárritu, who shot the film using natural lighting,[28] stated that production would last "until the end of April or May", as the crew is "shooting in such remote far-away locations that, by the time we arrive and have to return, we have already spent 40% of the day".[4][29] Brad Weston, president and CEO of New Regency Pictures, stated that principal photography had been challenging due to the ambitious nature of the film. Ultimately, principal photography wrapped in August 2015.[30]

The film was shot in twelve locations in three countries: Canada, the United States, and Argentina.[31] In Canada, filming took place in Calgary and Fortress Mountain in Alberta, and at Squamish and Mammoth Studios, Burnaby, in British Columbia.[31] While the initial plan was to film entirely in Canada, the weather was ultimately too warm, leading the filmmakers to locations at the tip of Argentina with snow on the ground, to shoot the film's ending.[27]

Crew members often complained about difficult shoots, with many quitting or being fired. Mary Parent was then brought in as a producer.[27] Iñárritu stated that some of the crew members had left the film, explaining that "as a director, if I identify a violin that is out of tune, I have to take that from the orchestra." On his experience filming, DiCaprio stated: "I can name 30 or 40 sequences that were some of the most difficult things I’ve ever had to do. Whether it’s going in and out of frozen rivers, or sleeping in animal carcasses, or what I ate on set. [I was] enduring freezing cold and possible hypothermia constantly."[32][33]

Iñárritu had stated that he originally wanted to shoot the film chronologically, a process that would have added $7 million to the film's production budget.[34] Iñárritu later confirmed that the film was shot in-sequence,[35] despite Hardy's statement that the film could not be shot chronologically, due to weather conditions.[36]

In July 2015, it was reported that the film's budget had ballooned from the original $60 million to $95 million, and by the time production wrapped it had reached $135 million.[2]

Music

Main article: The Revenant (soundtrack)

The musical score for The Revenant was composed by Japanese musician Ryuichi Sakamoto with additional music composed by The National's Bryce Dessner and German electronic musician Alva Noto.[37] The main body of the score was recorded at the Seattlemusic Scoring Stage in the Bastyr Chapel in greater Seattle, Washington by musicians of the Northwest Sinfonia. Sakamoto conducted these sessions. Bryce Dessner's portion of the score was performed by the 25-piece Berlin-based orchestra known as "s t a r g a z e" under conductor André de Ridder.[38][39] Additional licensed music includes "Become Ocean", the Pulitzer Prize and Grammy Award winning work of John Luther Adams as recorded by the Seattle Symphony with conductor Ludovic Morlot and an excerpt of "Jetsun Mila" from French musician and composer Eliane Radigue.[40] A soundtrack album was released digitally on December 25, 2015, and on CD on January 8, 2016. Milan Records will release a vinyl pressing of the soundtrack in April 2016.[39]

Documentary

The film was accompanied by a forty-four minute documentary, named A World Unseen, highlighting the process of making the production was released on January 21, 2016, on YouTube and the 2016 date of release made the documentary not eligible for Academy Award nomination for documentary subject in the same year as the film nomination.[41][42]

Literary themes

Wai Chee Dimock, in the Los Angeles Review of Books has compared the film to themes addressed in the literary works of James Fenimore Cooper. Dimock argues that Iñárritu remixes James Fenimore Cooper, taking the half-breed and turning this "derogatory term into an existential condition yielding a new visual field." Dimock states, "Like Cooper’s Cora Munro, Hawk is a half-breed: the child of Glass and his Pawnee wife, who was killed during a US army raid. The epithet never appears in the film, for good reason, though it does appear with some frequency in Cooper, notably in The Prairie (1827), the third of the Leatherstocking Tales, coming immediately after The Last of the Mohicans. In that novel, after a character’s offhand remark that the 'half-and-halfs […] are altogether more barbarous than the real savage,' Cooper felt called upon to add a footnote: 'Half-breeds: men born of Indian women by White fathers. This race has much of the depravity of civilization without the virtues of the savage.' That was pretty much a general sentiment … Iñárritu clearly has other ideas."[43]

In the documentary of the film titled A World Unseen, Iñárritu has stated that for the main themes of the film he revisits the issues and concerns of intense parental and filial relations, which audiences of his previous films readily recognize as a recurrent theme in his previous work. Regarding the theme of revenge seen throughout The Revenant, Iñárritu has stated that the approach of vengeance seen in the film needs to be significantly tempered by anyone who would want to see vengeance as either an effective or useful moral to be applied in life. In the end, Iñárritu states, there can only be disappointment and lack of fulfillment for anyone who looks to revenge as providing a higher purpose for living or a life defining purpose (see Documentary section above).[44][45]

Release

The Revenant had a limited release in the United States on December 25, 2015, including Los Angeles -- making it eligible for the 88th Academy Awards -- before being released nationwide on January 8, 2016.[46][47] The film opened in Australia on January 7, 2016[48] and in the UK on January 15, 2016.[49] In the Philippines, the film's release date was originally set for January 27, 2016, but it was eventually pushed back to February 3, 2016.[50][51] Although studios initially chose not to pursue a theatrical release in China,[52] following the film's three wins at the 88th Academy Awards on February 28, 2016, the film was granted a release in the Middle Kingdom but with several cuts. According to The Hollywood Reporter, China Film Group, the state-backed film company with monopoly control of distribution in the country, is planning a March 18, 2016, opening.[26]

Reception

Box office

As of March 2, 2016, The Revenant has grossed $172.2 million in North America and $238 million in other territories for a worldwide total of $410.3 million, against a budget of $135 million.[53]

Leonardo DiCaprio at the film's French premiere in Paris, January 2016. Dicaprio won a Golden Globe Award, BAFTA and Academy Award for his performance.

In the United States and Canada, The Revenant opened in limited release on December 25, 2015, and over the weekend grossed $474,560 from four theaters in New York City and Los Angeles ($118,640 per screen), finishing twenty-third at the box office.[54] It was the second-biggest theater average of 2015 behind the $130,000 four-screen debut of Steve Jobs.[55] The film earned a total of $1.6 million from its two-week limited run[56] before expanding wide on January 8, 2016, across 3,371 theaters.[57]

It made $2.3 million from its early Thursday preview showings from 2,510 theaters.[56] On its opening day, the film earned $14.4 million, ranking first at the box office.[58] The film grossed $39.8 million in its opening weekend from 3,375 theaters, exceeding initial projections by 70%, and finishing second at the box office behind Star Wars: The Force Awakens ($42.4 million), which was on its fourth weekend of play. It was the director’s biggest opening of all-time, and the fourth-biggest for DiCaprio and supporting actor Tom Hardy.[59] Critics noted that The Force Awakens had an advantage, considering that it was playing at 781 more theaters, that Sunday matinees are family-friendly, and since it had the benefit of playing in all North American IMAX theaters.[59] Nevertheless, The Revenant played very balanced across the U.S. and overperformed in all states except the Northeast region.[59] Its wide release weekend is among the top openings in the month of January.[60] It finally topped the box office in its fifth weekend overall and third weekend in wide release after competing with Ride Along 2 in its second weekend. It added a $16 million in its third weekend, which was down 49.7% but topped the box office,[61] despite a blizzard blanketing most of the East Coast which reportedly hurt many films' box office performance.[62][63][64] The following weekend it was overtaken by Fox’s own animated movie Kung Fu Panda 3 thereby topping the box office for just one weekend.[65] Following the announcement of the Oscar nominees on January 14, The Revenant witnessed the biggest boost among the Best Picture category, jumping from $54.1 million to $170.5 million, an increase of +215% upto the Oscar ceremony in the weekend ending February 28.[66]

Outside North America, the film secured a release in 78 countries.[67] It made $20.5 million from 2,407 screens in just 18 markets, placing behind The Force Awakens at the international box office chart and first among newly released films.[68] The following weekend, it added $32.3 million from 25 markets on 4,849 screens.[67] The film topped the international box office in its third weekend – the same weekend when it topped the U.S. box office – overtaking The Force Awakens with $33.7 million from 48 markets.[69] In the United Kingdom and Ireland, it took the No. 1 spot with $7.87 million[67] or £5.2 million ($7.4 million) from 589 theaters[70] and remained there for a second weekend declining only by 24% with £3.86 million ($5.5 million),[71] as well as for a third weekend.[72][73] Similarly, in Russia, it passed The Force Awakens to take the top spot with $7.5 million from 1,063 screens.[68] In France, it has the biggest opening day in Paris and the third biggest opening weekend of 2016 (so far) with $8.2 million.[74] It also opened at No. 1 in Mexico ($5.1 million), Spain ($4 million), Holland ($1.3 million), Belgium ($1.1 million), Argentina ($955,000), Sweden ($914,000), South Korea, Denmark, Norway, Israel, Egypt and Portugal among other markets.[67][69][72][75] In Germany ($4.6 million) and Australia ($2.9 million), it debuted at No. 2 both behind The Force Awakens and in Brazil ($2.17 million) behind The Ten Commandments.[68][75] It had one of the top ten openings of all time for a Fox film, not accounting for inflation in South Korea with $5.7 million and went on to top the box office there for a second weekend with $3.22 million despite cold weather affecting theater attendance resulting in low box office performance.[76][77] In Russia, despite not opening at No. 1, it topped the box office in its second weekend with $4.4 million – more than The Force Awakens[67] – and went on to top for a third weekend with $3.6 million.[78] As of February 21, its largest markets outside of the U.S. and Canada in total earnings are the United Kingdom with $30.9 million and Germany with $24.6 million.[79] It will open next in Japan on April 22.[74]

Critical response

The Revenant has received positive reviews from critics, with the performances of DiCaprio and Hardy,[80][81] Iñárritu's directing[82] and Lubezki's cinematography[82] being praised. However, the film's runtime has been criticized.[83] On Rotten Tomatoes, the film has an approval rating of 82%, based on 289 reviews, with an average rating of 7.9/10. The site's critical consensus reads: "As starkly beautiful as it is harshly uncompromising, The Revenant uses Leonardo DiCaprio's committed performance as fuel for an absorbing drama that offers punishing challenges – and rich rewards."[84] On Metacritic, the film has a weighted average score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[85] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[86]

Reviewers cited in a CBS News survey of critics praised DiCaprio for his performance, referring to it as an "astonishing testament to his commitment to a role" and as an "anchoring performance of ferocious 200 percent commitment."[81] Peter Travers of Rolling Stone called DiCaprio's acting "a virtuoso performance, thrilling in its brute force and silent eloquence."[87] Writing for NY Magazine/Vulture, David Edelstein called the film a "tour de force" and "[b]leak as hell but considerably more beautiful," but noted the film had "traditional masculinity instead of a search for what illuminates man's inhumanity to man."

Justin Chang of Variety wrote Iñárritu "increasingly succumbs to the air of grim overdetermination that has marred much of [his] past work" and it was "an imposing vision... but also an inflated and emotionally stunted one."[81] Stephanie Zacharek, writing for TIME magazine,[80] gave a positive review to the film stating: "Inarritu may have fashioned The Revenant as the ultimate endurance test, but as Glass, DiCaprio simply endures. He gives the movie a beating heart, offering it up, figuratively speaking, alive and bloody on a platter. It—he—is the most visceral effect in the movie: revenge served warm. Bon Appetite." Richard Brody of The New Yorker was critical of the film, and said that Emmanuel Lubezki's images were mere "pictorial ornament[s] to [Alejandro González Iñárritu's] bland theatrical stagings.”[88]

Slant Magazine's writer Ed Gonzalez suggested that the Slant staff in large part disliked the film: "Our contempt for The Revenant knows no limits (...)".[88] Gonzalez unfavorably compared Iñárritu's work to Terrence Malick's 2005 film The New World, of which Emmanuel Lubezki was the DP as well. In the official review, Slant writer Jaime N. Christley wrote: "The Revenant [is] a misery-fest that plants its narrative flags as carelessly as a Roland Emmerich blockbuster, guaranteeing us a viewing experience almost as arduous as the trials depicted on screen, before reaching a conclusion that's sealed the moment audiences first meet the key players. After an obligatory false calm, The Revenant's proper opening scene is a show-stopping massacre at a fur-trapper's campsite. It's the kind of thing Howard Hawks would have handled—and did, in The Big Sky—in under 90 seconds, with mostly off-camera particulars and minimal effects, but González Iñárritu forces it to resemble the Normandy Beach sequence in Saving Private Ryan as much as history or sense will allow, and then some."[89] Canadian actor Roy Dupuis was strongly critical of the movie for depicting a French-Canadian character committing rape. Dupuis was originally offered the role, but he rejected the role due to perceptions of anti-French bias and historical inaccuracies.[90][91][92][93] The Revenant was ranked twenty-second on Metacritic's[94] and seventy-ninth on Rotten Tomatoes' list of best films of 2015.[95][96]

Accolades

Main article: List of accolades received by The Revenant (2015 film)

The Revenant has received numerous award nominations and wins, particularly for DiCaprio's performance, Iñárritu's direction and Lubezki's cinematography. At 73rd Golden Globe Awards it won three awards including Best Motion Picture – Drama, Best Director, and Best Actor – Drama, as well as a nomination for Best Original Score.[97] On January 14, 2016, the film received 12 Academy Award nominations (more than any other film at the ceremony), including the Best Picture and Best Director, as well as Best Actor and Best Supporting Actor, for DiCaprio and Hardy, respectively.[98] On February 14, 2016, the film received the most awards at 69th British Academy Film Awards out of eight-nominations, with five, including Best Film, Best Director, Best Cinematography, Best Sound, and Best Leading Actor.[99] It received nine Critics' Choice Awards nominations, winning two – for DiCaprio as Best Actor and Best Cinematography for Lubezki.[100]

Tom Hardy won the Best British Actor award at the London Film Critics' Circle[101] and was runner-up for Best Supporting Actor at Dallas-Fort Worth Film Critics Association.[102] DiCaprio was awarded Outstanding Performance by a Male Actor in a Leading Role award at 22nd Screen Actors Guild Awards, while Iñárritu received Outstanding Directing – Feature Film award at 68th Directors Guild of America Awards.[103] It received five Satellite Awards nominations including Best Film, Best Actor, Best Director, Best Adapted Screenplay and Best Cinematography.[104]

At the 88th Annual Academy Awards, Iñárritu won Best Director, DiCaprio won the award for Best Actor and Emmanuel Lubezki won the award for Best Cinematography. The rest of the technical awards the film was nominated for went to Mad Max: Fury Road (Makeup, Costume Design, Production Design, Editing, Sound Editing, and Sound Mixing) and Ex-Machina (Visual Effects). Hardy lost his category to Mark Rylance for Bridge of Spies, and the film itself lost Best Picture to Spotlight.

See also

References

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