It’s been more than twelve hours since the movie ended, yet I’m still mulling it over, spewing quotes from the movie, and can’t stop thinking about it. Nolan’s films infiltrate the minds, kind of like when you just wake up from a vivid dream and still feel trapped between the dream world and reality.
Dreams feel real while we’re in them. It’s only when we wake up that we realize something was actually strange. – Dom Cobb (Leonardo DiCaprio)
I don’t know about you, but I dream often and they’re sometimes quite vivid. No matter how weird and surreal the are, one common thing they share is that my dreams always contain a mishmash of what’s real and what’s not, sometimes they even involve people/things from long ago that I thought I had forgotten, meshed together with those in my imagination. When I woke up, often abruptly, my main is in a state of confusion, but yet I wish I hadn’t been awaken. It’s discombobulating yes, frustrating at times as you can’t keep your finger on it, but dreams tend to be fascinating in a strange way. The same can be said about this movie.
The first fifteen minutes it was challenging to discern. It opens with a figure washed ashore on a beach, waves crashing onto him, and the story immediately unfolds in such an enigmatic way. Characters are vaguely defined as neither good or bad, but one thing we do know even from the trailer, Leo DiCaprio‘s Cobb is a thief. He’s not just any thief however, he isn’t after material things, but something far more priceless: an idea, someone’s deepest secret. But this time, his supposedly final job, he’s been hired by wealthy tycoon Saito (Ken Watanabe) to do the opposite of he usually does. Instead of extracting an idea, his task is to plant one into his subject’s subconscious mind, which happens to be Saito’s business rival. As if stealing from people’s dreams isn’t impossible enough, this crazy mission is bound to be ultra complicated. Well, just you wait.
I just saw Nolan’s first feature film Following just two days prior, so the details are still quite clear in my head. It’s quite obvious that Chris Nolan is obsessed with how the mind works and psychological manipulation. His first and latest film both deal with the concept of theft and intrusion, even the lead character share the same name: Cobb. But of course Inception is not so much a sibling of Following but its distant, ultra wealthy relative in the way of scope, scale and aspiration. There have been expensive blockbusters released this year, so in terms of production, its $170 million budget is by no means groundbreaking. What separates this from the pack is its sheer ambition and up-to-there creativity. To quote TOTAL FILM in it’s Summer issue: “…Inception’s USP is all about WTF originality.” I read one tweet on Friday that pretty much summed it up my experience: “Thanks Mr. Nolan. Now we only have 11% brain power left in us…” or something along that line. Unlike most popcorn blockbusters, you can’t switch off even one tiny part of your brain going into this movie, and even then you’ll still be perplexed, bewildered and frustrated by what’s taking place on screen.
To go into details of the story would be a disservice to those who haven’t seen it, besides, words escape me in trying to find ways to describe it. Many of Nolan’s movies usually demand repeated viewings to fully grasp the story, and this one is no exception. It’s got such a complex and multi-layered dream-within-a-dream concept, with plots and twists piling up on top of each other that we’re bound to miss some key information the first time around. I wish I could rewind a couple of scenes and turn on the caption on, especially when Watanabe is conversing with DiCaprio, which are some of the vital scenes in the movie. But the thrill is in trying to piece together this puzzle Nolan’s thrusts upon us (my husband quipped that Nolan must be into puzzle games and perhaps chess when he was growing up), and there are also some spellbinding visual effects to enjoy throughout. The CGI is quite seamless, which is a feat in and of itself, but the beauty is that when we’re seeing it, we don’t get stuck at the technicality of it. The special effects enhance the story instead of distract us from the movie.
If you’ve seen the trailer, you’d have seen a glimpse of the scene where the city of Paris is folding up geometrically. Well, it looks so much cooler in the movie, and we the audience, as well as DiCaprio and Ellen Page‘s character marvel together seeing the people who are still walking about and cars driving normally in a gravity-defying manner. Then there is the surreal sudden appearance of a freight train in the middle of a downtown street and a hotel hallway that spins like a hamster wheel in a Matrix-like action sequence. Those are just a few visual treats that go along with the cerebral ones.
It’s also exciting for me to see the influences that shape Nolan’s body of work. He said to Empire magazine that “[Inception] is absolutely my Bond movie… I grew up just loving them and they’re a huge influence on me.” No wonder, I chuckle during the sequence in the snowy mountainous region of Calgary, as it bear a striking resemblance to the ski shootout in For Your Eyes Only, among others. Interestingly enough, Nolan’s favorite Bond movie is On Her Majesty’s Secret Service (which is the least successful Bond movie with George Lazenby), as Nolan puts it, “…it’s by far the most emotional.” Similarly with Inception, amidst all the high-level concept, high-tech gadgetry and action-packed sequences, at the heart of the movie is a love story between Cobb and his wife Mal (Marion Cotillard).
So, with all the anticipation that went on for almost a year, does it live up to my expectation? One short answer: YES. Albeit being quite mystified for a good portion of the movie, it was exhilarating and fun, a thrill ride for the eyes and the mind. The acting is also excellent throughout, and not just by DiCaprio alone, who’s definitely the ‘face’ of the movie. Ellen Page, Cillian Murphy, Joseph Gordon-Levitt, Watanabe, Cotillard, Tom Hardy, Tom Berenger and Sir Michael Caine are wonderful in their respective roles. I particularly enjoy Hardy (who I last saw in Rocknrolla) who steal scenes every moment he’s in with his charming presence and comic relief. I would love to see more of this guy in the leading role.
Well, on that note, let me end with his line from the movie, “You mustn’t be afraid to dream a little bigger, darling,” Hardy’s character Eames said just before he pulled out a giant firearm next to a lesser-equipped Gordon-Levitt’s Arthur (you can see the exact clip here, thanks to Chele Belle’s comment). Hmmm, that’s got to be the motto Christopher Nolan lives by.