BFI Launch Shakespeare On Film
As the world celebrates Shakespeare 400 years after his death, the BFI, the British Council and Ian McKellen today unveiled BFI Presents Shakespeare on Film. With no other writer impacting so greatly on cinema, this programme explores on an epic scale how filmmakers have adapted, been inspired by and interpreted Shakespeare’s work for the big screen. It incorporates screenings and events at BFI Southbank (April-May) and UK-wide, newly digitised content on BFI Player, new DVD/Blu-ray releases and film education activity. As part of Shakespeare Lives, the British Council and the GREAT Britain campaign’s major global programme for 2016, celebrating Shakespeare’s works and his influence on culture, education and society, the BFI has also curated an international touring programme of 18 key British Shakespeare films that will go to 110 countries – from Cuba to Iraq, Russia to the USA – the most extensive film programme ever undertaken. The BFI is also part of the Shakespeare 400 consortium, led by King’s College.
Ian McKellen said
400 years on, Shakespeare’s plays continue to dominate stages worldwide, mostly of course in translation, challenging actors, directors, designers and audiences.The BFI’s “Shakespeare on Film” is more than just timely, it is a glimpse of the matchless collection of brilliant endeavour from world-beating Shakespeare experts like Laurence Olivier, Peter Brook and Kenneth Branagh whose films have popularised Shakespeare over the years. Their theatre-roots are evident. They have respect for the text and cut lines with regret. Other directors have successfully translated the stage plays for the screen, aiming, perhaps to make great cinema than great Shakespeare. Here, I relish Baz Luhrman’s Romeo and Juliet; Julie Taymor’s Titus Andronicus; Orson Welles’ Chimes at Midnight, Kurosawa’s Throne of Blood and Ran. And there are more. I will not be the only one to be grateful to the BFI for their initiative in this anniversary year.
The Secretary of State for Culture Media and Sport, Rt Hon John Whittingdale MP said:
Shakespeare has influenced and inspired audiences around the world for centuries. As the BFI undertakes the most extensive film programme ever to celebrate his work, I’m delighted that even more people will have the opportunity to enjoy the legacy of Shakespeare. From new adaptations, to events and a tour through 110 nations, this bold new project will help us remember one the greatest writers of all time.
Ian McKellen and Richard III (1995)
Spearheading the project, award-winning actor and writer Ian McKellen will travel around the world to present and discuss Shakespeare on Film. Ian starred in and co-adapted Richard III (1995), directed and co-adapted by Richard Loncraine and co-starring Annette Bening, Maggie Smith, Jim Broadbent, Kristen Scott Thomas, Robert Downey Jr and Dominic West. The film will be simulcast, in partnership with Park Circus, across UK cinemas on 28 April with a special post-film on-stage discussion between Ian McKellen and Richard Loncraine live from BFI Southbank. With the film set in the 1930s and shot largely on location in London, Ian McKellen will also be hosting public bus tours of the iconic locations in the film, from St Pancras station and Tate Modern to Battersea Power Station and Hackney’s haunting gas holders. Richard III is also being screened at BFI Southbank, will be part of the international touring programme and re-released by the BFI in a DVD/Blu-ray Dual Format Edition on 23 May, with brand new additional material, including new audio commentary.
Ian will attend the Shanghai International Film Festival’s Opening Night on 11 June and take part in a special on stage event at the festival on 12 June. Plans for Ian to travel to other countries as part of the tour will be announced soon.
Ian’s illustrious career spans six decades and he has been performing Shakespeare on stage and screen for the majority of it: from breakthrough performances as Henry V and Edward II at the Edinburgh Festival (1969) to the title role in Trevor Nunn’s acclaimed production of Macbeth with Judi Dench in 1976 and the opening ceremony of the London Paraylmpics (2012) when he portrayed Prospero from The Tempest.
BFI Head Curator, Robin Baker said
No writer has had greater impact on cinema – or inspired more films. At the latest count, IMDb lists Shakespeare as the ‘writer’ of 1120 titles. For me the best adaptations of Shakespeare are those that have taken his themes, situations, characters or language and presented them in ways that are purely cinematic: from the immediacy of the epic, bloody battles of Branagh’s Henry V or Kurosawa’s Ran (King Lear) to the intimacy of the close-ups used in the love scenes of Zeffirelli’s Romeo and Juliet. Film and TV makes Shakespeare’s work more accessible than any other medium and the BFI National Archive looks after the world’s largest collection of film adaptations of his work so I’m delighted that so many of them are going to be shared with audiences across the world in cinemas, online and on DVD.
Play On! Shakespeare in Silent Cinema
It is believed that around 500 Shakespeare films were made in the silent era and this new film is a playful compilation of scenes from the best surviving adaptations held by the BFI National Archive, including the first ever Shakespeare film King John (1899) and a rare discovery of a 20-year old John Gielgud’s earliest appearance on film in Romeo (1922). Other films from the 26 titles sampled include The Tempest(1908), The Merchant of Venice (1916) – shot on location in Venice, Julius Caesar (1909), Macbeth (1909) and Richard III (1911). The BFI has commissioned the musicians and composers of Shakespeare’s Globe to write a score for the film which will take an innovative approach, marrying a different composer for each of the film’s five acts (see Notes to Editors for credits). The film will premiere at BFI Southbank, play UK-wide in cinemas and on the international tour, and will be available in the summer on BFI DVD and BFI Player.
International Touring Programme: BFI Presents Shakespeare on Film around the world
The BFI is working in partnership with the British Council, as part of the global Shakespeare Lives in 2016 programme, to present 18 key British Shakespeare films in 110 countries, with activity ranging from single films shown in embassies, schools and English language teaching centres, to film programmes in partner cinemas, film festivals and in grand scale outdoor events. Many of the international events will be offered free of charge, so will be widely accessible to a variety of audiences from Azerbaijan to Zimbabwe. The programme will feature key titles including Loncraine’s Richard III (1995), Zeffirelli’s Romeo and Juliet (1968) and the BFI’s Play On! Shakespeare in Silent Cinema compilation. Also featuring as part of the Shakespeare Lives programme will be an exciting package of brand new Shakespeare-inspired commissions produced by Film London.
BFI Southbank – programme and events
The programme launches on 31 March with the premiere of Play On! Shakespeare in Silent Cinema with the score performed live by the Shakespeare’s Globe musicians. April will focus on the Classics, including Laurence Olivier’s Hamlet (1948), Kenneth Branagh’s Henry V (1989), Roman Polanski’s Macbeth (1971) and Franco Zeffirelli’s Romeo and Juliet (1968) brought to life with a new 4K restoration and presented in a special event and extended run at BFI Southbank and a UK-wide release by Park Circus.
In May, Shakespeare Re-imagined will explore how filmmakers have taken inspiration from Shakespeare’s texts and re-interpreted them. Screenings include a newly re-mastered All Night Long (Basil Dearden, 1961) set in the London jazz world and inspired by Othello; a new restoration in 3D of George Sidney’s musical Kiss Me Kate (1953) and Gil Younger’s 10 Things I Hate About You (1999) starring Heath Ledger – both based on The Taming of the Shrew; Derek Jarman’s The Angelic Conversation (1985) featuring Shakespeare’s Sonnets read by Judi Dench, and Gus Van Sant’s My Own Private Idaho(1991) based on Henry IV parts 1 and 2 and Henry V. Fred M Wilcox’s Forbidden Planet (1956) puts a sci-fi spin on The Tempest, Theatre of Blood (Hickox, 1972), inspired by Shakespeare’s death scenes, will appeal to horror fans while The Lion King (Roger Allers/Rob Minkoff, 1994) gives younger audiences a route into Hamlet.
International adaptations include a new 4K restoration of Ran (1985), directed by Japanese master Kurosawa and based on King Lear, which will have an extended run at BFI Southbank and is being released by STUDIOCANAL and Independent Cinema Office UK-wide from 1 April and on DVD/Blu-ray on 2 May. A focus on Indian Shakespeare from 29-30 April will feature three films from Indian director Vishal Bhardwaj; Maqbool (2003), Omkara (2006) and Haider (2014), based on Macbeth, Othello and Hamlet respectively with Bhardwaj himself discussing the films on stage with the scriptwriters.
TV previews
BFI Southbank will also be previewing, with on-stage cast and crew interviews, The Hollow Crown: The Wars of the Roses, Henry VI part 1 & 2 starring Tom Sturridge, Hugh Bonneville, Sophie Okonedo, Sally Hawkins, Michael Gambon and Benedict Cumberbatch, on 29 March – due to be broadcast on BBC Two in April. A new BBC Arena Documentary ‘All the World’s a Screen: Shakespeare on Film’ previews on 14 April which will look at the complex history, artistic contradictions and cultural achievements of Shakespeare, as translated into moving image. The film will be co-produced by Arena series editor Anthony Wall and Film London Chief Executive Adrian Wootton. The BFI is also a partnering with the BBC on their Shakespeare Day Live, on BBC Arts and online on 23 April, providing archive film footage.
BFI Player / BFI Mediatheques / BFI National Archive
The BFI National Archive holds the world’s greatest collection of moving image material relating to Shakespeare, the world’s greatest playwright. Now, thanks to National Lottery funding through the Unlocking Film Heritage project, many rare and exciting Shakespearean film and television titles – some unseen for decades – have been digitised and are being made available to audiences nationwide for viewing online, often for the very first time, on BFI Player. These include: animations including Oh’Phelia A Cartoon Burlesque (1919), vintage travelogues, musical novelties, newsreels, adverts and rarely seen fiction shorts and features inspired by the Bard’s works, ranging from period drama The Immortal Gentleman (1935) to contemporary comedy Romeo of the Spirits (1976).
Are The Oscars Rascist?
In recent years the Academy Awards has increasingly become an uncomfortable focal point for the never ending debate about Hollywood diversity. The Oscar nominations voted for by the 6000 strong Academy of Motion Picture Arts and Science, in particular the major acting awards, remain the most iconic symbols of success and recognition. The absence of any non-white acting nominees among this year’s 20 acting nominations has led to a growing list of major stars calling for a boycott of the ceremony. Even Cheryl Boone Isaacs the Academy president claimed to be “heartbroken and frustrated” by the lack of nominations diversity.
As the first African American to serve as Academy President, and only the third woman to hold the position, Boone Isaacs was quick to call for urgent changes to the academy membership. Many commentators have likewise pointed to the fact that those that vote for the Oscars are overwhelmingly white and male as a possible explanation for the apparent bias in nominations. As recently as 2012 it was claimed that over 90% of academy voters are white and over 70% are male.
The blunt question remains though, are the Oscars actually racist?
To begin with, it’s important to acknowledge that the Oscars have never been and won’t ever become a fair and impartial reflection of talent, ability or achievement. In essence beneath the distracting glitz and glamour the Oscars is nothing more than a self congratulatory popularity contest for an industry shameless fueled by petty insider politics, nepotism, ego and commercial mass appeal. It’s a circus not a science fair. Getting nominated and actually wining a statue is innately determined by a whole host of utterly subjective criteria and industry bias most of which has absolutely nothing to do with personal prejudices.
If you want to win an acting Oscar the criteria is fairly simple and entirely universal:
1. You need to be playing a real person, or at the very least be telling a story inspired by actual events. This ensures the film is undeniably ‘important’ not just entertaining.
2. It has to be a Drama. Comedy, Romantic or Musical dramas are acceptable variations, but only if someone actually cries at some point.
3. You need to be facing and overcoming adversity. Ideally this includes at least one of the following: terminal illness,mental health problems or racial, political and sexual prejudices.
4. Dramatic physical transformations always help. Get really thin, get fat or just slap on a fake nose, a wig and some ugly makeup. Sacrifice your movie star good looks and you’re much more likely to go home with a reward.
5. Accents and speech impediments also help constantly remind people how much you’re really acting this time.
6. Work with a widely respected director and if possible at least one celebrated veteran actor likely to sneak yet another supporting nomination for one of the many contenders they’re in this year.
7. Make sure it’s a Big Studio film. This ensures everyone’s seen it and they make a big expensive fuss about campaigning on your behalf.
8. Just keep getting nominated. Remember each time you get snubbed you’re one step closer to an eventual token win for another performance.
In truth the Oscars is just as prejudiced towards different genres of film as it is towards any other factor. Only eight science fiction films have ever been nominated for best film. The unspoken rule being that stories based on things that actually happen and set in the ‘real world’ matter more than things we completely make up. Likewise dramatic performances full of tears and impassioned speeches always trump fluffy feelgood entertainment. Oscar prestige can obviously only be given to truly ‘deserving’ efforts.
The bottom line is you’re infinitely more likely to win an Oscar if you’re an already popular household name playing the first blind trans-gendered mountaineer to climb Everest during world war 2. If Meryl Streep plays your mum, Scorsese is directing and the Weinstein Co are distributing then you might as well start investing heavily in statue polish.
Like every other artistic award show the Oscars is just an arbitrary celebration of popular talent. Leonardo Di Caprio is undeniably a gifted performer and his work in The Revenant is the result of considerable skill and obvious determined sacrifice. But is it somehow objectively better that the work of every single other actor in any of the many thousands of films released around the world in the past 12 months? Who can say. But Di Caprio will be this year’s best actor winner because everyone agrees it’s ‘his time’. After so many nominations it’s simply finally time to give the handsome global superstar the ultimate pat on the back in thanks for his many credibly serious blockbuster performances.
Looking at this year’s specific line up of nominees it’s very evident that they certainly do deserve to be there on merit alone. Even by the usual standards it’s an immensely competitive year with a host of the finest stars turning in brilliant performances in clearly Oscar friendly roles. Likewise those supposedly snubbed actually mostly have fairly evident reasons to be omitted.
Michael B. Jordan was never going to achieve a best actor nomination for an undoubtedly accomplished performance in Creed because voters also mostly remember him from the awful Fantastic 4 reboot. In contrast Tom Hardy received a supporting nomination for The Revenant, in large part due to the slew of star turns he’s delivered elsewhere this year (Mad Max/Legend). Oscar voting is rarely really just about a single performance, it’s almost always about your body of work, collected efforts and aggregate star power.
Perhaps most interestingly, Will Smith ‘missed out’ on being Oscar nominated for a third time for Concussion in truth most likely because his ‘Hollywood stock’ has fallen sharply after a string of critically panned and commercially disappointing films. It’s hard to bounce back from sweeping the Razzies with After Earth to once again be lauded as one of the five finest actors on earth. It’s particularly worth noting that the two times Smith lost out once nominated it was actually to Denzel Washington and Forrest Whitaker.
Idris Elba might feel the most legitimately aggrieved to miss out this year for his powerful turn in Beasts Of No Nation, but the fact is it’s simply harder to be nominated for playing someone evil. Character likability is a near universal common factor among best actor and actress nominees. So Matt Damon’s cheerful space survivor was always likely to edge out a brutal warlord abusing child soldiers in a popularity contest.
Straight Outta Compton missed out on being more widely recognized, but because it’s a niche music biopic that lacked a singular breakout performance from an ensemble cast of impressive young unknowns. It only revived a ‘token’ nod for best writing, but that would have been the exact same outcome for a surprisingly well made hockey or golf biopic. That’s precisely how the awards season typically acknowledges surprise success stories based around specific interests.
Of course it’s possible to endlessly debate the exact merits of those included or omitted, as in any other year, but suggesting the Oscars are intrinsically racially biased is a bigger and far more contentious argument.
Obviously looking back at the 88 year history of the Oscars it’s shamefully easy to point to surprisingly recent times when blatant prejudices existed. Having the same ugly influence on Hollywood award ceremonies as it did in schools, workplaces and almost all aspects of western societies. Thankfully that is not the world we live in for the most part today and the Oscars does reflect and even at times lead that change.
In the past 15 years 9 acting awards have been won by black performers, accompanied by numerous further nominations. Three times more than in the previous 73 year history of the awards combined. In fact just two years ago the Academy was busy patting themselves on the back for rightly celebrating 12 Years A Slave with a huge sweep of nominations and multiple wins, widely hailed as yet another ‘watershed moment’.
Audiences, critics and the multi-billion dollar global entertainment industry which serves them is arguably massively less affected today by racial, political or sexual prejudice than at any time in human history. So a precised lack of specific diversity in a handful of categories at one awards ceremony in any particular year shouldn’t be automatically taken as a sign that past progress has somehow been lost.
Oscar acting nominations are truly dominated by a tiny number of performers who have the consistent star power, credible performances and studio backing to achieve a very specific form of additional recognition. It has never been the only yardstick of success and can’t possibly be seen to give any kind of overall reflection of the attitudes within the entire global entertainment industry. When Leonardo Di Caprio and Meryl Streep alone have 10 nominations between them in the past ten years it evidently leaves little room to ‘recognise’ other talents.
It’s also important to remember that there are many definitions of diversity, aside from just simple ‘black and white’ distinctions. This year’s nominations significantly recognize landmark LGBT films like Carol and The Danish Girl. Representing the continued seismic shifts in global attitudes toward the LGBT community. Likewise the nods for powerful journalist drama Spotlight gives meaningful validation and an even louder voice for all victims of sexual abuse. It’s dangerous to look exclusively at racial distinctions as the only measure of diversity and also evidently misguided to automatically label anyone who isn’t African American as being just ‘white’. A point articulated very well by likely best director winner Alejandro G. Inarritu.
While Academy membership reform and the fierce public debate about legitimate wider issues of opportunity and institutionalized bias can’t possibly be a bad thing, it’s also a very clear mistake to expect Oscar nominations to somehow automatically conform every year to a preconceived set of demographics that merely symbolize fairness. If next year all 10 best actor and actress nominees happen to be African American it obviously won’t mean that white performers are suddenly an ignored minority or that the entire global entertainment industry is finally free from all prejudices.
So in conclusion are the Oscars Racist? No, but that’s not the only question we should be asking or the only answer that matters.
Jada Pinkett Smith & Spike Lee Boycott Oscars
Jada Pinkett Smith and Director Spike Lee have both publicly declared their intention to boycott this year’s Academy Awards ceremony over the much discussed lack of diversity in the acting nomination categories. For the second year in a row all 20 of the nominees in the best acting categories are white.
Critics have particular pointed to a failure to more widely acknowledge films like Straight Outta Compton and Creed or actors like Will Smith and Idris Elba.
In a video published on Facebook Gotham star Jade Pinkett Smith claimed that she was personally staying away because ”begging for acknowledgement, or even asking, diminishes dignity and diminishes power.”
It’s likely that this will only continue to fuel the heated public debate about the perceived inequities of the awards season and the wider entertainment industry it represents.
London Critics’ Circle Film Awards Winners 2016
Large-scale spectacle and fine-tuned intimacy shared the spoils as the UK’s leading film critics unveiled the winners of their annual awards at London’s May Fair Hotel tonight. Toward the end of the star-studded black-tie ceremony, hosted by comedian Robin Ince, it was George Miller’s high-octane action extravaganza Mad Max: Fury Road that raced ahead of the competition, taking the awards for Film of the Year and Director of the Year.
Miller’s film also shared in a third trophy, as leading man Tom Hardy was named British/Irish Actor of the Year for his body of work in 2015, also including his performances in Legend, The Revenant and London Road.
Equalling Mad Max’s tally of three wins was Andrew Haigh’s tender marital drama 45 Years, which the critics named British/Irish Film of the Year. It also won the night’s top acting prizes, as veteran stars Charlotte Rampling and Tom Courtenay were named Actress and Actor of the Year.
It was a strong night for British talent, as Kate Winslet was named Supporting Actress of the Year for her work in Steve Jobs, while Mark Rylance took the Supporting Actor honour for Steven Spielberg’s Bridge of Spies.
Adding to its growing list of honours in the US, Asif Kapadia’s homegrown Amy Winehouse portrait Amy took the award for Documentary of the Year. Among the films it beat was The Look of Silence: Joshua Oppenheimer’s follow-up to The Act of Killing was instead named Foreign Language Film of the Year.
Other winners included Brooklyn star Saoirse Ronan, who was named British/Irish Actress of the Year, while 18-year-old Maisie Williams accepted the Young British/Irish Performer award for her challenging lead role in Carol Morley’s adolescent study The Falling. Scottish musician-turned-filmmaker John Maclean won the Philip French Award for Breakthrough British/Irish Filmmaker for his striking revisionist western Slow West. The critics rounded out their British-specific awards with a new category: Oscar nominee Benjamin Cleary claimed the inaugural British/Irish Short Film of the Year award for his unconventional love story Stutterer.
American filmmaker Tom McCarthy and his co-writer Josh Singer were named Screenwriters of the Year for their fact-based script for journalistic drama Spotlight; Todd Haynes’s period romance Carol took the multi-disciplinary Technical Achievement Award for Ed Lachman’s lush 16mm cinematography.
Bringing the ceremony to a rousing close, finally, was a confluence of British acting royalty, as Judi Dench took the stage to present Kenneth Branagh with the Dilys Powell Award for Excellence in Film. Branagh accepted the award from his recent stage partner in A Winter’s Tale, after verbal and visual tributes to his storied career as an actor and filmmaker.
For the fourth year running, the May Fair Hotel hosted the proceedings, with Winslet, Hardy, Courtenay and Williams among the talent in attendance at the red-carpet event. Other key sponsors for the evening included Audi, Cameo Productions, Innerplace, Remy Martin, Sacred, Suqqu, Synchronicity, Voss and Viru.
The full list of winners for the 36th London Critics’ Circle Film Awards:
FILM OF THE YEAR: Mad Max: Fury Road
BRITISH/IRISH FILM OF THE YEAR: 45 Years
FOREIGN LANGUAGE FILM OF THE YEAR: The Look of Silence
DOCUMENTARY OF THE YEAR: Amy
ACTOR OF THE YEAR: Tom Courtenay — 45 Years
ACTRESS OF THE YEAR: Charlotte Rampling — 45 Years
SUPPORTING ACTOR OF THE YEAR: Mark Rylance — Bridge of Spies
SUPPORTING ACTRESS OF THE YEAR: Kate Winslet — Steve Jobs
DIRECTOR OF THE YEAR: George Miller — Mad Max: Fury Road
SCREENWRITER OF THE YEAR: Josh Singer and Tom McCarthy — Spotlight
BRITISH/IRISH ACTOR OF THE YEAR: Tom Hardy — Legend, London Road, Mad Max: Fury Road, The Revenant
BRITISH/IRISH ACTRESS OF THE YEAR: Saoirse Ronan — Brooklyn, Lost River
YOUNG BRITISH/IRISH PERFORMER OF THE YEAR: Maisie Williams — The Falling
PHILIP FRENCH AWARD FOR BREAKTHROUGH BRITISH/IRISH FILMMAKER: John Maclean — Slow West
BRITISH/IRISH SHORT FILM OF THE YEAR: Stutterer — Benjamin Cleary
TECHNICAL ACHIEVEMENT AWARD: Ed Lachman, cinematography — Carol
DILYS POWELL AWARD FOR EXCELLENCE IN FILM: Kenneth Branagh
The Revenant Review
The Plot:
After a brutal bear attack a severely wounded 19th Century frontiersman Hugh Glass is betrayed by his own hunting party and left for dead in the inhospitable wilderness. He battles against seemingly impossible odds to survive and relentlessly track down those responsible across the deadly wilds of North America.
The Good:
Directed with mesmerizing technical and artistic skill by Alejandro G. Inarritu, The Revenant is utterly deserving of it’s critical praise and awards season hype. Inspired by actual events the film tells a uniquely realized tale of determined vengeance in a landscape that is equally beautiful and terrifying. Leonardo Di Caprio impressively leads a magnificent ensemble cast featuring the considerable combined talents of Domhnall Gleeson, Will Poulter and Tom Hardy. Together they breath visceral life into a brutal world of the endless struggle between man and nature, life and death.
Di Caprio in particular looks virtually assured to achieve his long sought Oscar win for a performance of considerable physical sacrifice and actual suffering. The actor bravely endures deadly cold, disgusting raw foods, physical pain and unrelenting torments for his portrayal of Hugh Glass. Among all of his celebrated work The Revenant marks Di Caprio’s most strikingly obvious attempt to cement his place in Academy history, with a deserving performance that showcases considerable human spirit triumphing over excruciating adversities.
Aside from its accomplished production values and gritty performances the film also deserves credit for its handling of the historical backdrop of violent tension between Native American tribes and ever expanding ‘white’ settlements. Avoiding clumsy stereotypes and oversimplifications the film does an excellent job of ensuring both sides of the conflict are depicted as equally capable of vengeful atrocities fueled by surprisingly similar justifications.
The Bad:
Squeamish audiences may find the brutal violence of this era of human history particularly hard to stomach at times. The film’s notoriously excruciating bear attack is just one memorable moment of bloody mayhem among so very many. From the film’s opening scenes the threat of truly grisly violence is never far away. No doubt uncomfortable viewing for many, the film takes dramatic credibility but little pleasure from its painfully realistic depiction of human suffering.
Though the film’s astonishing landscape of desolate snow drenched wilderness is beautifully captured on camera, the dialogue free isolation makes the film’s already lengthy running time feel somewhat more demanding. There is an undeniable bleakness to every aspect of the story which may leave audiences feeling more drained and emotionally exhausted than satisfied or in any way comforted.
The Ugly Truth:
The Revenant is a visually breathtaking tale of survival set against a savage backdrop of the violence of man and the daunting challenges of untamed nature. Leonardo Di Caprio is on astonishing Oscar worthy form yet again in a film deservedly praised for its undeniably determined vision. Equally beautiful and horrific the film grips audiences attention despite a lengthy run time and the long absence of dialogue.
Review by Russell Nelson