Fame can often be a mixed blessing, the sword of Damocles hanging above a director’s head as they slowly scale the heights of critical and commercial success. As with Martin Scorsese and even Woody Allen, now it infects the work of Christopher Nolan, attracting adoration that may not be entirely warranted.
With his newest work “Inception”, Nolan builds upon previously examined themes and tools in order to present to us a united vision, a conglomerate of his past successes. Despite all the usual fanboy attention, it is important to remember that this picture is a superior experience, but by no means a perfect one.

We are introduced Cobb (Leonardo DiCaprio) and his team, thieves capable of inserting themselves into the dream of another and extracting information or ideas from their mark. These scenarios involve a “point man”, Arthur (Joseph Gordon-Levitt) and an architect who constructs the dream world around them, Nash (Lukas Haas). Pain in this world is experienced like that in waking life, however death results in a person simply waking up. Recruited by Saito (Ken Watanabe) after a botched “audition”, he promises them a safe return back to the US if they can do the impossible, insert an idea into someone’s subconscious mind that they will act on as if it’s their own. The mark, the son of a late business rival of Saito’s, Robert Fischer Jr (Cillian Murphy). To do so, Cobb is forced to recruit a forger, Eames (Tom Hardy) and a new architect Ariadne (Ellen Page), all the while dodging the memories of his late wife Mal (Marion Cotillard).

Sold as a heist movie in the classical sense, “Inception” never quite fits the bill, sprawling too far and wide for such a definition, in a lot of ways boiling down more to the amalgamation of “Memento” and “The Prestige”, another examination of the mind and possibility.
His previous motif of displaced time and place has evolved into layers of consciousness, bringing us further down the rabbit hole than “The Matrix” and its creators could have possibly written for. Each layer becomes more and more unstable, bringing the team and us with them further into what constructs our very beliefs, the ideas we believe form as individuals. The mind attacks intruders, those who seek to undo the dicta of reality each of us prescribe to.
However this does completely gel with the given formula. Whereas a standard heist movie will often have multiple misdirections operating at one time before the final reveal, the director’s change of direction causes often unnecessary confusion. Levels run both consecutively and concurrently, leading to an often frantic pacing and level of action capable of overloading with Nolan having lost control.

Inextricably linked are our emotions, a concept Nolan is not entirely comfortable with. Adding such personal detail to the already complex slight of hand means that both suffer slightly; Mal and Cobb’s relationship often comes across as overly saccharine and the cathartic revelation added to the film’s crescendo does not mask it’s simplicity from the viewer and thus lacks real resonance.

Both DiCaprio and Cotillard work with the often limited scope and bring it beyond the simplistic writing it is often given, overall illustrating their powerful ability in front of the screen. They are helped by a supporting cast that, despite being familiar from previous Nolan projects, assumes their roles with a poise and confident swagger most other summer blockbusters can only dream of.

Never an advocate of CGI where it is unnecessary, Nolan has created a new level of integration for the film’s effects. Characters and entire cityscapes spin 360 degrees or collapse in upon themselves seamlessly. Where “Avatar” created visuals otherwise impossible using the newest of technologies, here it appears as if none at all were brought to the table, obliterating such showboating and redefining once again what it is we expect from the visual arts.

Viewed in conjunction with the attention “Inception” has garnered, it is impossible that it will ever live up to such high expectations. Here stands a movie that in spite of its faults, is an insightful and intelligent marriage of aesthetics and substance. If Nolan can consolidate his victory and work upon its shortcomings, he might just be as good as his press.

  1. Don’t ENTIRELY agree, but you make some good points. I’ll bear it in mind when I see it next.

      • thejackanory
      • July 17th, 2010

      Planning on watching it again already? Don’t think I could right away, needs a bit of time to settle. Just saw one or two of the twists coming and thought it could have been better streamlined, don’t think most people will agree with me really.

  2. Had not read any reviews before going to see Inception last night-Thought it was ok but it was very dragged out and not worth all the hype around it. The ending was good and it is beautifully shot etc but the section in the middle about Mal and Cobb was too long. I even had a mini nap in the middle section but thats my own fault for going to a 11pm showing!

      • thejackanory
      • July 18th, 2010

      Yeah, the emotional content was far from perfect and didn’t really add much until the very end, it wasn’t constantly engaging as much as the rest of it was. It’s definitely something Nolan has to work on, have noticed it’s been lacking in a lot of his movies but otherwise, still thought it was above average.
      Don’t know how you went to such a late showing, went to a half 9 one myself and that wasn’t the easiest!

  3. Freakin amazing!! I loved almost every single second of this!! Nolan is going to be considered as one of the best directors of all-time now, and I will stand by and say, yes, I have to also agree. Check out my review here:

      • thejackanory
      • July 25th, 2010

      Not sure I’d call him that so soon but the contents of the movie were definitely intriguing, just hope he can improve his fluidity in writing and eventually develop new themes that don’t seem to be coloured by his previous works (and move away from using the same actors, like Cane). Will definitely read yours though, thanks.

  4. I loved it. I loved it because it was a movie and because of the way Nolan made it. I loved the ending. I loved the characters. I did slightly doze and I by no means think it’s a Dark Knight but it is something I’ll be going back to. I’m so amused by how it polarises people – I have yet to meet anyine who says “yeah, it’s good, but not great, but like, it’s okay”. They love it or hate it.

    Nolan is a genius. A warped one, but still.

    • thejackanory
    • August 16th, 2010

    Oh he’s always seemed to be either loved or hated, even if you look at movies like “The Prestige” where the ending irritated a lot of people, something that commonly irks people about his films.
    I loved what he was trying to do, I think he has an issues with writing romantic relationships, at least in how they hold up to the high quality elsewhere. I also thought it lost control slightly when the multiple levels ran concurrently.

    So many I’m that one guy 🙂

  1. October 7th, 2010
    Trackback from : Spider-Man 2

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s

%d bloggers like this: