Thus there appears nothing left to him when the ghostly visage of his dead wife appears, apparently beckoning him toward the eternal. Just as Fitzgerald said before he died, “Well you enjoy it Glass, because there ain’t anything that’ll bring your boy back.” And indeed, with his revenge complete, Glass appears frightfully wounded and far from the safety of a fort. Yet, it’s after this moment that the ambiguity settles in. He is on course to suffer the fate of all tragic revengers if he personally takes Fitzgerald’s life. Glass does this because he seems to have taken to heart the advice of his Pawnee savior from the midway point of the film. Hence why he can barely protest when Glass sends his broken body down river like it’s a raft borne of flesh and leaking blood. By all accounts, both men appear mortally wounded, albeit Fitzgerald more so. Yet, the final knockdown, drag out brawl between Glass and Fitzgerald is just as merciless.īones are smashed, fingers cut off, and hands impaled. The most iconic scene in The Revenant, which is destined to become a classic moment of big screen brutality, is of course when the grizzly bear mauls Hugh Glass half to death in an agonizing steadicam shot that goes on for several minutes (plus an eternity). But it, more than any desire for revenge, is the true driving force for Glass’ stunning survival instinct.Īnd it comes just as much into play at the end of the film after Hugh Glass has hunted down John Fitzgerald (Tom Hardy) and cornered him by a slushy creek. In the immediacy, it introduces the theme of the story, as well as Glass’ love for a son whose mother was taken away by other white men. These early words spoken by Hugh Glass to Hawk, his half-Pawnee son, are crucial to understanding the movie. In fact, one of the most striking similarities is their preference for ambiguity and open-ended finality. However, there is more in common with these two movies than merely their ability to play as awards voter catnip ( Birdman nearly swept the Oscars and if the Golden Globes of 2016 are any indication, The Revenant might repeat the trend). Ostensibly an intimate story of suffering, The Revenant takes on a biblical scope when Leonardo DiCaprio and Tom Hardy are doing battle in the backdrop of a budding avalanche. Nimble and talky with its theatrical levity, Birdman is quite clearly the inverse of The Revenant, a stoic and often wordless musing on man’s primal urges-including revenge-when cast against a primordial and uncaring world. 2014’s Birdman was an ode to pretension, ambition, and all those other wonderful virtues that drive artists mad. Iñárritu has delivered a pair of visionary films that’ve made a grizzly bear-sized impact on the cinematic conversation. In the last two years, director Alejandro G. This article contains The Revenant spoilers.
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