Inception may be many things to many people: mind-blowing, ambitious, or just confusing. Now that I’ve had a few days to let all of the film’s layered projections sink in, I can say that personally, the most lasting effect of Chris Nolan’s new epic lies in its unrestrained exploration of the sheer power of our creative imagination, an aspect both absolutely necessary and yet regrettably fragile in any artistic endeavor. In this respect, the film vastly exceeds any and all expectations of mine and literally exemplifies the fleeting notion of “following your dreams."
At one point in the film, Cobb recruits a new architect, Ariadne, to construct his dream-worlds. As an initial test, he asks her to draw him a maze which can be solved in one minute. She tries a few times, scribbling a few lines on the gridded paper. But as expected, Cobb easily figures the mazes. Then, in an act of defiance, she turns over the pad and literally goes outside the lines, creating a surprisingly simple yet intricate circular maze.
Much like Ariadne’s construction of a circular maze in lieu of a far more conventional linear maze, Nolan’s Inception reflects his own desires to break out of the conventional blockbuster storytelling boundaries. In a cinematic time of also-rans and hollow premises, Inception dares to offer the public something (gasp!) original and thought-provoking. Among other things, Inception could be the smarter and sleeker offspring of The Matrix and Eternal Sunshine of the Spotless Mind, combining stellar visual spectacles with engaging intellectual matters to from a singular labyrinthine tour de force. Throw in a Kubrickian effort in the director’s seat, a dizzyingly masterful editor, and a pulsing yet haunting score and you’ve pretty much begun to scratch the surface of this movie.
For all its complexities, Inception works on many levels. The most obvious is its sheer visual spectacles and visceral exhilarations. While Nolan’s weakest points in past films may have been in the action choreography department, those weaknesses are turned into strengths in this film. Special effects of collapsing buildings, exploding streets, and folding cities are not only seamless, but also completely immerse the viewer in the story. Indeed, Inception is a prime example of how CGI and action can be utilized to complement a story, not overwhelm it. In particular, the zero-gravity hallway fight deserves its own round of applause. The disorienting yet graceful tumbling of the corridor – and the simultaneous hand-to-hand combat that takes place within its tumultuous walls – is not only one of the best sequences on film this year, but also one of the most astounding and memorable sequences in the past few years.
Yet for all its sheer spectacle, Inception primarily relies on its intellectual and emotional core to drive the story. If there was one doubt I had going into Inception, it was that heist films are generally cold and calculating endeavors – an aspect of filmmaking in which Nolan has tended to overly indulge. Essentially, I was afraid that the gimmicks and twists of the heist itself would overshadow any emotional journeys of the characters. But just as Nolan overcame previously less-than-stellar action sequences, he injects enough turmoil, guilt, and sadness to form a thoroughly engrossing emotional thread throughout the film’s core.
By now, I’ve tried to describe the film to many people. The best example I came up with was “the chills.” You know that point in a film when the music swells, the heroes take action, and the plot thickens? That’s when you get the chills that run down your arms, signaling that you’ve just witnessed something incredible. They come few and far between these days, given the general unoriginality of most films. But believe me, Inception offers enough chill-inducing moments to make you want to mistakenly reach for a jacket in the middle of the movie.
Take note of this film. This is the most audacious, inspired, and (dare I say it?) best holistic film so far this year. Its scope is limitless. Its production is vast. And most importantly, its execution in all facets of filmmaking is unparalleled by any other film I've seen this year. Come awards season, Inception should be a lock for numerous nominations, including editing, cinematography, score, special effects, director, and potentially, best picture (if the Academy Awards learned anything from their recent expansion of the Best Picture field from 5 to 10 nominations, Inception will be nominated). Every minute detail of this film – whether it was the wipe of the camera’s reflection in the revolving mirrors or the M.C. Escher-esque renderings of the dream-world architecture or the swipe edit of Eames’ impersonations – culminate in Nolan’s wholly immersive creation, relentlessly radiating unrestrained ambition and vision. And that, in the end, is the rarest thing in Hollywood these days and simultaneously, the only thing that matters in any creative endeavor.
At one point in the film, Cobb recruits a new architect, Ariadne, to construct his dream-worlds. As an initial test, he asks her to draw him a maze which can be solved in one minute. She tries a few times, scribbling a few lines on the gridded paper. But as expected, Cobb easily figures the mazes. Then, in an act of defiance, she turns over the pad and literally goes outside the lines, creating a surprisingly simple yet intricate circular maze.
Much like Ariadne’s construction of a circular maze in lieu of a far more conventional linear maze, Nolan’s Inception reflects his own desires to break out of the conventional blockbuster storytelling boundaries. In a cinematic time of also-rans and hollow premises, Inception dares to offer the public something (gasp!) original and thought-provoking. Among other things, Inception could be the smarter and sleeker offspring of The Matrix and Eternal Sunshine of the Spotless Mind, combining stellar visual spectacles with engaging intellectual matters to from a singular labyrinthine tour de force. Throw in a Kubrickian effort in the director’s seat, a dizzyingly masterful editor, and a pulsing yet haunting score and you’ve pretty much begun to scratch the surface of this movie.
For all its complexities, Inception works on many levels. The most obvious is its sheer visual spectacles and visceral exhilarations. While Nolan’s weakest points in past films may have been in the action choreography department, those weaknesses are turned into strengths in this film. Special effects of collapsing buildings, exploding streets, and folding cities are not only seamless, but also completely immerse the viewer in the story. Indeed, Inception is a prime example of how CGI and action can be utilized to complement a story, not overwhelm it. In particular, the zero-gravity hallway fight deserves its own round of applause. The disorienting yet graceful tumbling of the corridor – and the simultaneous hand-to-hand combat that takes place within its tumultuous walls – is not only one of the best sequences on film this year, but also one of the most astounding and memorable sequences in the past few years.
Yet for all its sheer spectacle, Inception primarily relies on its intellectual and emotional core to drive the story. If there was one doubt I had going into Inception, it was that heist films are generally cold and calculating endeavors – an aspect of filmmaking in which Nolan has tended to overly indulge. Essentially, I was afraid that the gimmicks and twists of the heist itself would overshadow any emotional journeys of the characters. But just as Nolan overcame previously less-than-stellar action sequences, he injects enough turmoil, guilt, and sadness to form a thoroughly engrossing emotional thread throughout the film’s core.
By now, I’ve tried to describe the film to many people. The best example I came up with was “the chills.” You know that point in a film when the music swells, the heroes take action, and the plot thickens? That’s when you get the chills that run down your arms, signaling that you’ve just witnessed something incredible. They come few and far between these days, given the general unoriginality of most films. But believe me, Inception offers enough chill-inducing moments to make you want to mistakenly reach for a jacket in the middle of the movie.
Take note of this film. This is the most audacious, inspired, and (dare I say it?) best holistic film so far this year. Its scope is limitless. Its production is vast. And most importantly, its execution in all facets of filmmaking is unparalleled by any other film I've seen this year. Come awards season, Inception should be a lock for numerous nominations, including editing, cinematography, score, special effects, director, and potentially, best picture (if the Academy Awards learned anything from their recent expansion of the Best Picture field from 5 to 10 nominations, Inception will be nominated). Every minute detail of this film – whether it was the wipe of the camera’s reflection in the revolving mirrors or the M.C. Escher-esque renderings of the dream-world architecture or the swipe edit of Eames’ impersonations – culminate in Nolan’s wholly immersive creation, relentlessly radiating unrestrained ambition and vision. And that, in the end, is the rarest thing in Hollywood these days and simultaneously, the only thing that matters in any creative endeavor.
