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):
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.
~Courtesy of the AOFH~
