Do not know these history you will not be able to interpret [Wilderness Hunter]

"Wilderness Hunter" April 22 in Hisense Internet TV gather to see the whole network premiere, before the viewing video, you must know the following knowledge, or do not really understand!

Simply based on the story, the film can be said to be simple and easy to understand: This is a man's survival and revenge story, although the process is sharp, but the goal is single, no branch plot, there is no room to "open the brain."
However, from the perspective of historical background and film language, "Wilderness Hunter" is a work full of ambition; behind a simple plot, there are grand and heavy demands on the humanities, and a history that spans centuries and changes the fate of European and American continents. change.

Prototype Hugh Grass

Watching movies through history
The era of the Wilderness Hunter story may be unfamiliar to most contemporary audiences. Therefore, to really understand the director's performance intentions, you may wish to sort out the historical background of the film story.

Historical Hugh Grass
The audience who know a little about this movie news will be amazed at Xiao Li’s “battered” acting. Perhaps there is a question: Can such a “Xiaoqiang”-like figure not exist in reality? But the truth is that this Interestingly interesting: Hugh Glass, the hero of "The Wilderness Hunter," has indeed had this figure in history; what is more crucial is that most of his experiences in the film have actually happened.

In 1823, Grasse, who joined the Rocky Mountains fur company, was attacked by a grizzly bear and was fatally wounded on a journey to hunt beaver fur. As the film depicts, in order to give him a legitimate "Christian funeral," the two teammates stayed with him for the final journey.

When his teammates were impatient, they buried him and ran irresponsibly. The powerful Grasse himself climbed out of the grave, and after a long journey, he returned to the human world.

Glass climbs out of the grave

The biggest difference between film and history is mainly in two aspects: First, Grasse’s past life is basically unrecorded in history.
So, about his Pawnee Indian wife, and his mixed-blood son, are the fictions of the film's main creation, mainly to enhance the drama of the story.

Because the other big difference between the film and history is Grasse, who has historically returned to the fur company. For whatever reason, "forgiving" had abandoned his teammates at first, and there was no chapter of "vengeance" shown by the film.

Xiao Li’s wife and children are not recorded in history and there is no such thing as “vengeance”.
In short, based on the story of the “human and nature” struggle that has actually occurred in history, the film has greatly strengthened the “human” factors and the complexity of the relationship between people. It is worth noting that this seemingly dramatic addition of complexity corresponds precisely to the overall appearance of history beyond Grasse’s case.

Fur Trading: A Century of Transatlantic Business
Grasse, who was engaged in the fur hunting business in The Wilderness Hunter, was generally called the Mountain Men in history because they were hunting the beaver and collecting fur mainly in the waters and forests of the Rocky Mountains. Make a living by trading. According to historical records, the period depicted in The Wilderness Hunters coincided with the heyday of beaver fur trade. At one time there were 3,000 to 5,000 “mountains” working. However, the so-called Shengji will certainly decline. Between 1820 and 1840, it was also the last glory of North American beaver fur hunting and trading.

European and American "mountain" trade deals with different Indians and intermarriage with their children

In many European countries in the North American colonies, the French were the first to engage in beaver fur trade. Because of the unfamiliarity with regional geography, Europeans began to rely on different Indian tribes, especially tribes close to the river hub, and acted as "middlemen" in the beaver fur trade. Even in the beaver skin's price system, the more primitive Indian skins that were saturated with sweat and soften, the higher the price for selling in Europe. The white-haired white fur hunters of the first-line grass-roots also intermarried with Indian tribal women to gain support for indigenous experience and skills. This intermarriage gave birth to many mixed-breeds, collectively known as Métis, who grew up to become a new generation of fur hunters with richer skills and resources. The Indian family arranged by the Wilderness Hunter to the protagonist, though not in conformity with the personal experience of Grasse in history, is a true portrayal of the practice at that time.

Indians Use Skins and French for Weapons in Movies

The North American Indians acquired metal products and thermal weapons from the whites in the fur trade. However, the improvement of their own lives was limited, and the rate of casualties among clan clashes was even higher.
The Indian tribes were divided and killed in the confrontation of the colonies of various countries, and they were extinguished in each other's wars. The Boni and the Libs involved in the Wilderness Hunters are the two Indians. They fight against each other. The wife and son of Glass, the protagonist, and the Indian who rescued him on the way belong to the Pawnee. The women and their fathers who were captured by the French were ethnically friendly.

The above is a general introduction to the historical background of The Wilderness Hunter. Behind this is a more complicated history. Simply knowing these historical backgrounds only has a basic understanding of the character's motives, and then it can clearly get more details hidden in the movie.

Through the screen to see implied meaning

The director's "Birdman" is also a very strong image style

Like his predecessor, The Birdman, Wilderness Hunter is a very strong image style. Different from the films that generally emphasize narrative, the film not only highlights the hardships and dangers of the hero's escape experience, but also makes the audience more immersive. Through the arrangement of visual elements such as dreams and empty mirrors, the film's rhythm is constantly evolving from a simple plot. The kind of “play” in the extreme environment that is delivered to the audience is the strong desire of the director. Many carefully composed pictures also have deeper meanings.

Following the scenes of "dreamland" and "non-dreamland", we analyze the specific images and their symbolic meanings:

Those dreams
Keywords: Trees, birds and belief collapse

The shadow of his wife often appears in Grasse’s dream

In the hero’s dream, the dead relatives—especially the wife’s image—appear repeatedly. As narrative elements, they are the spiritual driving force that sustains the protagonist's survival and completes revenge. As a coherent image element, they also reflect the loss of the character in the spirit. The picture of reunion with the loved ones in the dream is not only the emotional needs, but also the deeper exploration of the own soul. In the ensuing dreams, the wife's image is assimilated into "angels", guarding the hero, until he finally completes the mission; the scene ending with a safe departure is also like "waiting for reunion in heaven".

The appearance of trees has different meanings in movies

In the opening dream, a tree with luxuriant foliage appeared. The wife beside the tree and the son still in a childlike state seemed to be very peaceful and joyful. This undoubtedly represents the happy time in the memory of the protagonist. A family of three enjoy each other. The image of "tree" is similar to "Eden" here.

When the hero was injured and the dream appeared for the second time in the film, there was no wife and son beside the tree, suggesting the final fate of their loved ones. At the same time, the wife's voice-overs about "storm, branches and trunks" gave the "tree" a new image, which became a symbol of the game "enforced by the outside world" and "self-tenurable vitality" and became the core driving force for the protagonist to live. Pay attention to the scene in which the son was killed in the movie. The camera shook up to the subjective lens of the protagonist looking up at the woods. The trees swayed with anxiety and uneasiness, reflecting the wave of the protagonist's heart. It was also a kind of “man is doing, heaven is watching”.

After the wife was killed, the birds flew out of their chests

The bird's picture appeared many times in the film. In his dream, his son was holding a black bird when he was a child. The bird flew out of his wife's chest (at the same time, he paid tribute to Zudulovsky's "Mount Ark"). Later on the river... It can be said that the bird had a good attitude in the film. Spirituality, on the one hand, they can represent death or the soul after death; on the other hand, they can convey the good intentions of the deceased, represent the care of loved ones, and even directly help—such as the bird that was roasted by the protagonist.

The frescoes of the remains of Christ Church

In the dream of the protagonist receiving Indian healing, there appeared a dilapidated church. On the remaining frescoes, it depicts the scene of Jesus' suffering; on the one hand, it shows that the protagonist's original Christian belief system collapsed. On the other hand, it let The son (soul) that appeared in this scene had the taste of the “Sacred Son”. After all, the son was also killed to save him.

Broken church, hug son turned into trees. Behind the portrait of Christ collapsed

In this dream, the hero embraces his son tightly, and the next moment he finds that he is holding a bare tree. Reconnecting with the changes in the image of the “tree” before this, it can be seen that the protagonist's heartbreak hurts the complete shattering of happiness in the past, and that Grasse chose to embrace Indian primitive beliefs that are closer to nature.

In connection with the identity of the protagonist, on the one hand, he is a “civilized person” who has a veteran expedition experience and exhibits a “pioneering spirit”. At the same time, he has lived with relatively “barbaric” Indians for a long time, and the latter’s influence is not only related to blood. The way continues and deepens into its soul. However, these two different spiritual sources are obviously conflicting in the context of the film; the series of extreme experiences of the protagonist only makes this contradiction more prominent.

Glass looks up at the bone

The buffalo skulls that appeared many times in dreams were an important site for Indian tribal worship; the same as the image of birds. Grasse dreamed several times that he had shown that the shadow of death still lingered about, and hinted at his inner yearning for aboriginal worship, or at least curiosity. He began to unknowingly follow Indians' more primitive and natural thinking. In the end, he follows the Indian friend's advice in the depths of his soul and sends the object of revenge to the “hand of God” represented by the Indian...

Those realities
Keywords: Resurrection and Obsession
The picture of the narrative main line is constantly released from the film, which also plays an important role in understanding the film.
For example, the film's depiction of the natural environment has almost the same weight as the human role. The natural conditions of forests, snowfields, rivers, etc., on the one hand, give the protagonist the road to revenge, adding numerous difficulties and dangers; on the other hand, let him rely on these natural elements and turn them into fierceness. The protagonist is based on the hunt for animals, but again and again with the help of animal elements (bearskin, horse abdomen, etc.) to survive.

Snail pattern kettle

From the perspective of the relationship between man and nature, the anthropomorphic nature is actually the "pan-theism." Notice the mark that the teammate Bridge, who stayed to take care of the protagonist, had engraved on the kettle. The spiral figure was the symbol of pantheism. When they deserted the protagonist, the only object left for the protagonist when he fled was the kettle. In addition to the consideration that “water” was the most important element of life, he portrayed the kettle marked by the Pan-God and also symbolized that the protagonist actually had the “natural god”. "The blessing." After the protagonist's "resurrection and rebirth" like this time, people have to make religious associations.

Bears claws retained by Glass

Weak meat is a law of nature. The only idea that survived by the protagonists who have been abandoned by civilization is also compressed into the most primitive and direct motivation for revenge. He was wounded by a bear and nearly killed him; the bear claws he kept were externalized by this deadly idea. He noticed that he had written the name of the enemy twice in the film. The first time he used the bear claw.

A group of wolves and herds were encountered on Grass Road

As for animals, there are also shots of wolves besieging a bison. The bison was isolated and the herds quickly dispersed to save. If the bison is understood as Indians, the wolves represent whites, the whites are willing to kill Indians, the Indians are internally strangled and uncooperative, and on the other hand, seeing this scene as if Grasse was now abandoned and betrayed. Indulge yourself in situations and look at them.

Meteorite falls

Sometimes, the picture in the film is difficult to resolve at first sight. For example, the "sky fire" that was dropped by meteorite. Interestingly, there are similar images in the director's previous work "Birdman." In addition to displaying the protagonist's “burning will” in the same way, the traces of meteorites in “Wilderness Hunter” are also connected with the protagonists and enemies. They should be seen at the same time. Lens movements are like indicating that “sky fire” is pointing the enemy to the protagonist. The location.

An avalanche occurs in the distance

At the end of the movie, when the protagonist searches for the captain who was sinisterly killed by the enemy, the snow-capped mountains at the far behind are precisely at the moment of an avalanche. This “prestige of nature” not only resonates with the wrath of the protagonist’s inner heart at this time, but it also indicates that God’s acquiescence to the revenge of the protagonist is as if his enemy was not bad enough before, and he insisted on adding a human life to make the protagonist’s actions more effective. In accordance with the laws of nature.

It should be noted that the film's creators naturally have their own considerations when concocting these images; but after the film is produced, different people may have different understandings. Plus the director sometimes wants to present a vague and ambiguous artistic conception. The interpretation above is far from standard – or there is no standard explanation at all. It is actually a beautiful realm to be able to speak without saying.

"Wilderness Hunter" is a good-looking broadcast on the entire network. Open Hisense Internet TV and you can watch it.

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