Ideas as parasites and the architecture of the mind as the scene of corporate crime, where the infiltration of dream layers is a labyrinthine gauntlet of projections and deceptions, and the fabric of reality becomes as fragile as footsteps in the surf of time. Christopher Nolan’s Inception is one of the truly great science fiction movies of all time.
The less said about the plot the better (and easier). Cobb (Leonardo DiCaprio), is a skilled thief working at an unprecedented level of control; Extraction (stealing an idea from a dream), which involves a high calibre team; Arthur (Joseph Gordon-Levitt), his right-hand man, Ariadne (Ellen Page), his dream architect, Eames (Tom Hardy), a forger (imitator), and Yusef (Dileep Rao), a chemist (specialising in sedatives). Their job is Inception: planting an idea in someone’s mind via dream(s).
Their client is Saito (Ken Watanabe), a powerful business player, who wants to manipulate Robert Fischer Jr (Cillian Murphy), the heir to a dying multi-billion dollar oil company tycoon (Pete Postlethwaite), by planting the idea of splitting the soon-to-be inherited company up, so the wealth won’t be controlled by Fischer alone. In return – and this is Cobb’s primary incentive – Saito’s immense political power will ensure Cobb can return to America to see his children again, since Cobb is currently a fugitive accused of his wife Mal (Marion Cotillard)’s murder.
But everything is far from simple. And Murphy’s Law can penetrate the fabric of dreams; in this case Cobb’s subconscious, his memories, his past relationship with his wife, and the love they shared.
Brilliantly writer/director Nolan has concocted the most elaborate narrative structure, primarily an action-movie, but disguised as a spy-thriller, masquerading as a science fiction neo-noir, that works as a dream-nightmare. Yet it is essentially a story of love and betrayal, memory and desire. It works so well on so many levels it is breath-taking as a piece of cinema. It took Nolan eight years to write the screenplay.
The production values are astonishing; I’ve not seen visual effects so extraordinarily integrated into the live action, where one can’t tell where the CGI ends and the real effects begin. The gorgeous dark-hues of the cinematography from Wally Pfister (who has shot all of Nolan’s movies) provide the movie with its significant noir feel. The production design (by Guy Dyas) is immaculate, right down to the superb costuming (a very impressive array of men’s suits is constantly on parade courtesy of Jeffrey Kurland). The incredible choreography of the chase sequences, enhanced by the frenetic editing and Hans Zimmer score. Although Nolan’s screenplay is a towering achievement, his direction and the editing (from Lee Smith) are consummate. And the cast is pitch perfect.
It’s easy to gush over Inception. It demands to be seen. However I’m in two minds about seeing it a second time (of course I will). There is something magical about the first experience, especially since I chose not to read any reviews or watch any trailers prior to the screening. I knew very little about the movie, apart from that it was by Nolan, of whom I’m a huge fan, and that it dealt with the perception of reality (I had no idea how significantly it employed the fabric of the dream state). I know a second (and third) viewing will still be hugely enjoyable, but I also can appreciate that the wonder and mystery (two very important elements of Inception) will be dampened, cracks may very well appear, and the mechanics of the filmmaking and storytelling will penetrate the illusion of the cine-dream.
But hey . it’s only a movie. An illusion. And therein lies the magic of Nolan’s prestige.ntertaining escapade.
Film reviewer Bryn Tilly is also a very active Sydney DJ, scriptwriter and composer – and writes the blogs Horrorphile and Bruno Dante’s Cult Projections.To see reviews of what Bryn Tilly regards as the best movies of 2009 click here. To have a laugh and enjoy Bruno Dante’s article on the best ever sex scenes in mainstream cinema and independent movies click here. To go one step beyond and check out Bryn’s world famous article (it gets over 100,000 viewers per month) on ACTUAL sex performed in mainstream (as in non-porn) cinema / movies click here.
