Iguassu Falls

Iguassu Falls

Calling the Others

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Wednesday, January 13, 2016

The Relevance of The Revenant












Remember this:  Coincidence, I think not.

Zoom In: [Dramatic Spanish Soap Opera Eye]

Sleep was eluding me. The Golden Globes made the final wrap up. I turned off the television. While lying in my bed, I was watching select versions of DiCaprio’s body of work projecting through my mental reel. I picked up my cell phone to scroll through images of movies past. There was a strange thing appearing among them. I felt compelled to write this.

Disclaimer: Anything written here is me, writing. Do not get your panties in a bunch. I am not going to wear a diaper, drive miles out of my way to camp out at some celebs house just to be incarcerated with a mug shot on Bad Hair Day. No thank you.

Besides someone else is writing the content of the script and the director is guiding the movie-the actor is the character made manifest driving the storyline.

I could be writing a bunch of malarkey. Enjoy!

[Somewhere in the head of Angelia, she hears Gonzo’s voice proclaim profusely, “We Must Flee!”]

DiCaprio’s theme is a significant female other that goes through a process of evolution as the singular made plural. There is no mistaking the feminine lurking in the lines between the script pages of films he chooses to operate from.

I became aware of this because of a scene in The Revenant. It is the Feminine Apparition that haunts him. It is the thing that he contemplates on but really doesn’t know except for his reality based relationship with his mother. This is the one relationship he can actually put his hands on and be secure in it not swaying left or right of what it actually is.

Who would not want that? Unconditional, undying love-always.

Moving that kind of love onto a non-blood relative is hard sometimes. For others, it is as effortless as breathing.

The theme of the female apparition is no longer alive, questionably real being made of substance, but living in the spirit world while eliciting an effect on a living counterpart; for good or bad.

Is this true of everyone? We feel we have this thing haunting us. We can’t quite put our finger on whatever it is. We question our reality, argue at the concept hoping to diffuse its mystery choking us down with synchronicities and coincidences; yet ever elusive.

We rage at the mystery, it holds us hostage, then we fall into a babbling heap of defeat at being unable to overcome and discover what the mystery is. Jump back up, shake our fists at the sky, say, “never again”, and fall back into a miserable, resentful pulp on the floor; suckered yet again.

Much like a ghostly deer; real, not real, questionable yet firm in its answer but always under the suspicion of: How concrete a thing is the idea, person, place, or thing?

I, relative stranger, may not be real…

Oh, to be a stone!

For those wanting to watch The Revenant: I don’t plan on doing spoilers. My opinion of the movie was a beautiful, emotional journey in need of cosmic closure driven by a series of events.

I was elated with whoever made the decision for utilizing the landscape and backdrop, got the same sense I do when I am outdoors. When you are outdoors at certain times you know and experience what your senses and your eyes see; motion, sound and light.

Of course, one cannot smell a movie.

The silent noise with perspective instances where light gives the viewer the sense of that otherworldliness desensitized in busy, distracted people. If you have ever been in a pine tree with the wind blowing during the fall and the sounds of nature around you-you will instantly understand. Think of the song (versions differ):

Rock a bye babe,
In the tree tops
When the wind blows
The cradle will rock

Have you not heard this song before?

The swaying of pines trees is comforting-at least to me. The swaying of any tree is comforting be it weeping willow and mighty oak.

If not, learn to make friends or find a place to get that experience. You will not regret it. God bless that lighting person for getting “it” and getting “it” right.

There is a scene in the movie where light comes through snow and pine needles. This seems like a mundane, time-wasting moment to tell you to go seek given sweeping vistas but sometimes the greatest epiphanies come from looking at miniscule things-you just have to be mentally willing to receive the visual.

I was enamored by watching insects, like dust balls, in tall grassy weeds during the setting sun because you don’t see the insect but its glow. You will not see it unless you lay in the grass at the right moment.

I notice meticulous care in rendering something as it is with the senses vibrating outward-even if it is from a sprig of grass on the road holding a drop of dew. Some people are aware of that kind of experience and detail. It is not just looking at flat gray paint on a wall-which does have its own set of pores.

Moving your awareness to new positive plateaus should be on your Goals Lists for Today.

There was even attention to the subtleness of sound. Silence is loud, and the introduction of animal and elemental sounds in ample proportion is a truth-given the place and time.

For the actors, coming to the understanding the places they traveled to are beautiful but trying to kill you at the same time was appreciated.

Given the broad base of DiCaprio’s work, most of his films are accentuated by the appearance of a person to which his character has a deep emotional bond, even if that bond ends in a disastrous result. The majority of the work indicates a female and has eventually moved to include the child.

Let us examine certain bodies of his work:

The Great Gatsby: Lost Love, Love Found, Wishy-Washy Lover Gets Lover Murdered.

Romeo and Juliet: Forbidden Love. Mutual suicide ensues.

DiCaprio’s character goes through the first stage of initial romantic love that eventuates in the death of both characters. The relationship ends in a suicide-suicide plot.

Can you imagine a romantic pondering the imprudence of taking your life with another because you were in the depths of obsession’s embrace based on a short-term, fleeting romantic timeline?

Anyone in their right mind would have their self-preservation kick in. “Save thyself”, Shakespeare did not quote!

Shutter Island: Reciprocal grief-driven murder-murder plot; the ultimate betray of love; filicide.

Is this a potential outcome of people getting married, one or both having mental disorders, and having kids?

Inception: Distorted reality robs lovers by lovers’ hands, ends in suicide and betrayal.

The female aspect in this movie is a hostile force. Mal, the female character becomes assimilated to the non-reality of the constructed dreams. When she returns to reality due to the continuation of the delusion of non-reality, she commits suicide and treachery at framing her male counterpart.

I was a little confused here because I wasn’t sure if the Mal character was initialing the suicide of DiCaprio’s character or his eventual awakening to reality. Here you have delusion-suicide-treacherous betrayal. This speaks to individuals in relationships being in different places due to psychology, or dysfunction of psychology.

Nothing says partner-torture like committing to a person who starts out problem-free then falls into addictive and delusional behaviors. They will drag you down with them, or one partner trying to save the other even to defeat.

At times, DiCaprio may be choosing to do these roles for an unconscious reason known only to him. One can’t exclude the reality it may be nothing more than a good script coming his way.

Who cares? Let’s run with it.  

In some ways, these roles are probably therapeutic and self-defeating at the same time to his person. Moving along to a commitment of some sort with another person is being haunted by his body of work with all its dysfunctional female characters that puts the fear of God in a person.

It’s cinematic birth control and relationship flame retardation. Genius, or not?

DiCaprio lives vicariously through the lives of his characters; never being in a functioning relationship with a female counterpart; the female counterpart is elusive and just across the line of his character realizing just how much he doesn’t know about the person he is attached to.  

Who hasn’t arrived at the old doorstep of, “Who the (F-bomb) are you? Really?” Always accentuate the profanity I say.

Fade in: [Dramatic Spanish Soap Opera Eye]
Note to operations: The Oompa Loompa stunt doubles are orange and crazy drunk.  
Action!

I acquiesce to Basic Instinct, Fear, and Fatal Attraction for the I Ching on crazy people in relationships.

Can one imagine what effect this would have as a form of re-enforcement against forming mutual, loving bonds with other people?

It wouldn’t be far-fetched to assume, yet we shouldn’t assume, that there is always a residual of the role actors play in life, and how that role can murky up the waters of reality for the person playing the part.


Always, there is the female apparition that DiCaprio cannot hold on to due to life’s impermanence but his characters try to the detriment of emotional well-being and heartbreaking disappointment.

In Inception, Mal thought her suicide was a part of a dream then slips off a ledge. In Shutter Island, Dolores goes up in a cloud of ash in a dream sequence. In Romeo and Juliette, Juliette commits suicide. In The Revenant, Hugh Glass’s Pawnee wife dies, but she haunts him throughout his trials to warn him on to the final scenes. This character is the only one not noted as instable because she dies early. We know she is Pawnee, has a child with Glass, and somehow walks through the spirit world to encourage or lead Glass from harm. In The Great Gatsby, Daisy Buchanan leads Gatsby to his murder because of her wishy-washy ways. All Gatsby wants to do is love her and it isn’t enough.

This final female apparition is the one that is the most mysterious. The stable, motherly-wife figure, minus the dramatic dysfunction, that can be counted on to help guide or stay with him throughout the rest of his journey to whatever end it becomes.

As I was writing this, I had this mental image of DiCaprio on the side of a creek. He is walking in shallow pools in a creek, oblivious of my presence on the bank. I am amused at him because he is turning over stones of varying sizes. Quite calm, he goes about the business of the search. For what I do not know, but I am amuse. He is just afraid to cross over. He needs to cross over because something more rewarding in his personal life could be waiting on the other side. He’s already proved his professional life.

DiCaprio’s work says almost, “I am afraid. These things can end painfully disastrous. It is better to be haunted, but single.”

When you compare DiCaprio with Keanu Reeves, Reeves theme is the “man of burdening misfortunes” in his more serious work. He’s a different basket of fish, that one.

If fear is wearing the psychological clothes of an imaginary character, how debilitating can that be when living a life out-of-character?

I thought about it. My psyche was a little burdened by the idea the only good woman was the mysterious Pawnee wife of Hugh Glass in these roles. The rest were psycho-cats.

Fade out: [Rolling of the eyes with body contortions. Oh Gad!]

Each male character was lead to his doom by his female counterpart due to the emotional bond formed. Love will lead the way. The footnote happens to be: till death or crazy do we part.
Charon is waiting for his gold coins as these male characters take the scenic ride down the river Styx. Women are driving the boat in disguise.

How awful! To have mistrust conditioned into your psyche centering on a job. Work can condition you to do some fairly odd things if you absorb the tenants.

I almost spewed my green tea from the thought of it. Hilarious!

Then you have DiCaprio as Hugh Glass-single parent with bi-ethnic child living in an era when the child is always a target for harm.

He is now moving on to the child portion; children that he does not know.

I took a pause into my inquiry of other people’s business.

If you read DiCaprio’s movies as if you were glancing into his brain or psyche, he has now accepted the loss of the female counterpart and places all that love on a child counterpart.
The outer child could be the inner child.

How does an adult man cope if he feels he is about to lose his mother? The one person he could always count on.

Eventually, reality will drag you kicking and screaming back at the most inopportune time.

Now ask yourself, if you were an actor going through subsequent versions of the themes of love, commitment, and relationships by-products and products, if you were sitting at the poker table being dealt the cards of potential outcomes, which scenario would you be afraid of being handed, especially if the outcomes are driven by death, betrayal, grief, and unhappy endings?

What is man but to overcome his fear?

Maybe this is why; everyone should have a happy ending once in a while. Just to believe. Because, you have to believe the best possible outcome is achievable.

Lastly, the theme of love being so strong, no matter what is surrounding it, negative or positive, to surpass death itself; eventually, you have to give up the ghost-or manifest it in the physical.




Written by: Call Me Cryptic Angelia