Somewhat belatedly I was treated to a viewing of “The Revenant”, last year’s historic drama of a man’s survival against impossible odds in 1800’s Montana. The picture won numerous awards and earned Leonardo DiCaprio an Oscar for Best Actor.

The movie retells the story of Hugh Glass, a fur trapper who in 1823 was mauled by a grizzly bear. His companions felt that he was on the brink of death, and fearing for their own lives they abandoned him. He managed somehow to survive. The bulk of the film follows him as he struggles through the wilds of Montana, braving the worst of nature and hostile Native warriors, fueled by a lust for vengeance.

First, I will praise some aspects of the film. The acting was superb. More than this, the eerie music and stunning cinematography made this a haunting and atmospheric experience. The cool beauty of Montana in winter could almost be said to crowd out Leonardo DiCaprio as the principle star. Even before I realized that Emmanuel Lubezki was the cinematographer, I was put in mind of the lonely and ethereal visuals from “Gravity”.

The major themes of justice and vengeance resonate through the film. The movie was a powerful emotional experience. Still, at the end, I couldn’t help but feel that an opportunity was missed. One comes away from “The Revenant” feeling as though we have witnessed the 18th century version of a fatal car crash, with victims’ entrails spilled across the pavement. I could be more charitable and liken it to a great Shakespearean tragedy, such as Hamlet.

Clearly, though, historical accuracy was sacrificed at many points to make this a full blown revenge movie. In real life, Glass forgave Bridger (as in the film) and did not kill John Fitzgerald. John Fitzgerald may not have been as cartoonishly evil as he was portrayed here. A slightly different spin on history would be to forego the death duel feel of the final scenes and end on a theme of forgiveness and reconciliation. As it stands, “The Revenant” is illuminating but not inspiring. It illuminates the darkness of the human heart, but doesn’t inspire better. Showing humanity rising above bloodlust would have enhanced, not diminished, the emotional power of the film.