The Revenant: A Tale of Revenge


noun: revenant; plural noun: revenants
  1. a person who has returned, especially supposedly from the dead.
    “he was three hundred years old, a terrible living revenant”
 Leonardo Di Caprio is Oscar nominated for Best Actor at this years Academy Awards for his role in The Revenant. He plays Hugh Glass, a fur trapper and frontiersman who endures great physical hardships in the Montana wilderness of the 1820s.
The film is based on the true story of Glass, who endured a mauling by a she-bear and abandoned by his companions,  survived quite miraculously to cover several hundred kilometers of harsh wilderness and return to the nearest settlement.
The story has been retold in many forms, mostly examining what incredible fortitude was required to not only survive the ordeal but to cover so much territory alone.  Upon arrival Glass, sought out his two companions, the ones who left him for dead, and promptly forgave them.
Versions of the story including this film explore the nuances of Glass’s journey and what motivated him – primarily a quest for justice. In this case – revenge.
The film is set against the backdrop of a warring Indigenous group the Arikara, a benevolent tribe the Pawnee, bloodthirsty French, British and American fur traders and the harsh North American winter.
It flips Hollywood stereotypes of whiteman vs Indian, showing up the wickedness and bloodlust of both sides, each with their own complex motives for revenge. Most significantly it draws on a lesser known detail of Glass’s life, that he married a Pawnee woman and had a child by her.
Revenge is so closely tied to love. One cannot simply rest when one we love is killed or hurt. In a world without justice, one man is left to seek it anyway he can find it.  The justice of the tale then is the harsh wilderness they inhabit.The Indigenous people have their own rough justice and honor system. Amongst it all, Glass is one man, who both loves deeply and endures, in an herculean effort to return to face the man who did him wrong.
Revenge is a dish better served cold is perhaps the phrase to underscore the film. The Revenant is an epic tragedy with great performances. Not for squeamish or the faint of heart.


Birdman is a 2014  comedy-drama with a stellar cast inlcuding Michael Keaton, Edward Norton, Emma Stone and Naomi Watts [among others]. It is an interesting commentary on being an artist in a celebrity mad world.

Most of Birdman appears to be filmed in a single shot.

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The story follows Riggan Thomson (Keaton), a faded Hollywood actor famous for his role as superhero Birdman, as he struggles to write, direct and star in a Broadway adaptation of a short story by Raymond Carver.

The parallels between Keaton [Batman] and Riggan [Birdman] overlap parrallels between the Raymond Carver play, “What We Talk About When We Talk About Love” and  Riggan’s own quest for affirmation.


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We follow his feeling of insignificance in an age in which comics make billions and anyone without a Twitter account “doesn’t exist”.

When Riggan is visited by his ex-wife but all he can think of is whether Clooney [another Batman] will be more remembered than him. His wife informs to him that he misunderstands admiration for love.  He is not alone in this delusion however. His charismatic costar Mike [Edward Norton] can only be himself on stage, off stage his life is a mess. Another co-star Lindsay [Naomi Watts], neurotically awaits to be told she has “made it” by performing on Broadway.


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Riggan faces the harshest of New York theatre critics, one who promises to destroy him and delivers the ultimate insult – he is  a celebrity and not an artist.

Ironcially, a mistake causes Riggan to be locked out of the theatre in his underpants and forced to walk through Times Square, causing tens of thousands of shares on twitter, and thus propelling him into the limelight.

Later a failed effort to commit suicide on stage results in him being declared an exciting new method actor by the same theatre critic.


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The film is a reflection on success in art, fame, celebrity and integrity of being. It looks at the pressures and anxieties artists face to have their work scrutinised and destroyed by critics, at the mercy of the twitterverse, seeking to hold onto a feeling of being a part from their artistic creations.

In a profound life learning, Riggan’s daughter [Emma Stone], a world weary rehab survivor, maps out the age of the universe in dashes on a roll of toilet paper. One small square equals the entire time humans have been in existence.

The illustration reduces human hubris to one insignificant square of tissue.