The Red Right Hand
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INCEPTION
The Dream Is Real

Director
Christopher Nolan

Starring
Leonardo DiCaprio
Joseph Gordon-Levitt
Ellen Page
Marion Cotillard
Ken Watanabe

Know what I loved most about The Matrix? The surprise. The fact that as a fifteen year old, I had absolutely no idea what to expect, I just knew it would be cool. Hours later I staggered out of the cinema, instantaneously knowing that I had witnessed film at its very best. It's been a while since I have felt that. Gran Torino came damn close but A Single Man was the first to completely recreate that feeling. Inception is better, Inception is a genuine cinematic symphony. Now, I realise my mentioning of The Matrix is quite derivative of what I imagine every other film critic is going to publish but I am specifically referring to the impact as an audience member as opposed to the story itself. In truth, despite the many comparisons it will no doubt receive, Inception is much closer to The Sting than it is anything else because ultimately, this movie is about the long con.

I refuse to go into too much detail here simply for the fact that this film is so complexly interwoven that to detail a general overview is incredibly difficult. Nevertheless the film focuses on the last job of an extractor named Cobb [DiCaprio]. In the near future, the technology to enter ones thoughts and dreams in order to steal information is available and exploited by various major companies and seemingly seen as little more than corporate espionage. After an audition process, Cobb is hired by Saito [Watanabe] to form a team and plant a thought into the mind of one of his major industry rivals; this act is called inception and is believed to be impossible. Cobb accepts the contract after being told he can return home to the US without fear of imprisonment. As Cobb assembles his team, we quickly learn the fundamentals of dream worlds and the rules that apply within. From here the plot surrounds the mission at hand and the deeply-rooted subconscious guilt that surrounds the death of Cobb's deceased wife [Cotillard] that he is trying to suppress.

**Spoilers from this point on - might as well skip to the last two lines**
Yes, if you have yet to see this movie, go away, have a watch and then come back here and read the remainder of this review because there is almost no way to discuss this release passionately without thoroughly analysing and giving away multiple aspects. First off, the film does not adhere to simply one genre, instead it draws from action films, comedies, dramas, thrillers, heist movies, mysteries, science fiction flicks, along with many others and by ticking so many boxes, Nolan has ensured that this film does not commit too heavily to any particular mould, offering a complex and captivating tale without overly confusing or ostracising audiences. As stated, I believe this film to be a true representation of a cinematic symphony - by that I mean that every single aspect of this movie works in succinct harmony with one another, complimenting the overall aesthetic. The effects are visually sublime but only drawn on when necessary, the acting is all extremely impressive (though the characters can be a little two dimensional at times - I'll go into more detail later), the story weaves an intricate picture that beguiles and mesmerises, the action sequences are gripping whilst still credible, the editing is glorious, the costumes, locations and set designs are exquisite, the directional choices are inspired and the score . . . ok, the orchestral score needs a new paragraph.

God damn, Hans Zimmer's score is fucking amazing. Seriously, it's brilliant. Thundering brass sections pound away heavily and relentlessly with the persistence of an ancient army stood outside the gates of hell demanding entry (don't know why they would but that's what came into my head). Utilising both foreboding and heart racing tones, each piece demands your attention and refuses to release it until the scene closes. Equally, the softer sentimental tracks are just as engrossing, swaying gently over the on-screen visuals, subtly complimenting the experience. Doubling as a chilling war-cry and mournful battle lament, the overall effect is wholly stirring. In addition, the only break from the distinct musical themes is the Edith Piaf song Non, Je Ne Regrette Rien - another well placed subtlety that is possibly one of the only musical monk's rewards I have ever witnessed -- stick around for the closing credits to see what I'm talking about.

I also believe part of the film's success will be down to the choice to focus heavily on the emotional driving force behind Cobb's actions and less the hard scientific fact that would leave the film feeling like a sterile lecture. In this case, it is never fully explained how the dream technology works. All you need to know is that in the near future there is a box with a big plungery button in the middle that administers a sedative and allows you to enter others' dreams. That's it. Move on. No one questions it, no need. Totem, how does it work, who cares? Surely if your mind is subconsciously aware of what you're expecting to happen, it could synthesise it? Who cares, move on. And yet, these are the questions that will ensure this film is discussed and debated by anyone and everyone who watches this film (both used for and against) as well as highlighting how very unimportant they are when compared to the emotional and psychological effect of subconscious self persecution - which is one of the key contributory factors of this story.

I genuinely believe this to be a perfect release and as such don't feel any overwhelming desire to pick it apart but I have chosen to defend two points. The only real negative I could call upon would be the lack of character depth outside of Cobb and Mal and the nature of the final shot. Both points balance heavily on the answer to a question that Nolan refuses to offer - how much of what we witnessed was 'real' and how much was a dream? As a narrative goes, I believe we do not need the answers to these questions, I feel that without knowing we gain a better cinematic experience, much in the same way I absolutely loved A Serious Man partly due to the ambiguous nature of its finale. Having said that, some people will simply need an answer. So, here we go. There are three distinct possibilities. Option 1: Everything we've seen is as it should be. The spinning-top topples. Option 2: Cobb was unable to escape limbo in time and remains trapped albeit in a happier environment. The spinning-top continues to spin. Option 3: Everything we have witnessed, from the get-go is a dream, possibly witnessed by someone who is in a state of mental instability - therefore the dream technology and subsequent events are a fictitious illusion. The spinning-top spins or topples; whatever.

Naturally, you can argue many more points for and against but these will appear most often. Most importantly, however, the only reason any of this would come into play is the presence of the spinning-top at the end. The thing to remember, before getting carried away with your little analysis is that the top itself is less a plot device and more a nod from the director to the audience - well, not so much a nod and more a kick in the teeth - reminding you to question the nature of happiness and reality. It is my personal belief that all three points have equal arguments. The lack of character history or focus other than Cobb and Mal could imply that the supporting cast are little more than constructs of Cobb's own imagination. On the other hand, you could argue that the story is incredibly straight forward and the possibility of alternate dream realities has corrupted your own experience to look for evidence to prove that he didn't get out. Finally, you have the case that I believe - I think he's trapped in his own madness but happy there - largely for the fact that there are two credits for James and Phillipa (Cobb's children) one group seen regularly in the film and the other only used as a voiceover during a phone call . . . . I think. Ultimately, we'll never know as each argument draws heavily on the driving force of guilt, giving weight and support to each concept and I believe the film benefits from that. Schrodinger's Cat sort of endings that challenge intelligent audiences and frustrate stupid ones.

Of course, this excludes one very important point. The concept of the totem itself is a difficult one. Although never fully explained, we understand that the totem is an item of personal significance that grounds you in reality; an item which adheres to the rules of chance, chaos, causality and probability. The film suggests that this personal item will always react a certain way within a dream world but only in reality will it demonstrate what we would perceive as 'normal' actions. Due to the very specific nature of this item, you are not meant to tell anyone what the totem does and as such you are never robbed of this precious indicator. The problem is (giving weight to the aforementioned Option 3 - which I hate) is that the spinning top belongs to Cobb's wife. On top of that, he tells Ariadne what the top is supposed to do, rendering it useless. But as stated, the totem is a neat trick and one we shouldn't overly analyse as it does little to further our enjoyment or understanding of the film.

The dictionary definition of 'Inception' is the beginning of something or (in Britain, at least) graduating a masters degree. Either definition points to two obvious points: Nolan has graduated from the contemporary cinematic confines and started something entirely different.

Release Date:
UK - 16th July 2010
US - 16th July 2010

The Scene To Look Out For:
Quite simply, the concept of a dream within a dream within a dream and the time delay effect is brilliantly explained as the van falls from the bridge, whilst Arthur [Gordon-Levitt] floats his way around a gravity-shifting hallway and the remaining cast infiltrate a fortress high in the snowy mountains. A fantastic concept, wonderfully executed, masterfully edited and absolutely wondrous to behold. If you haven't seen it, I won't try to explain it, if you have, you know what I'm talking about. Either that or the very James Bond / Assassin's Creed inspired chase sequence through Mombasa - great stuff. Oh! Or Fischer [Cillian Murphy] opening the safe! Nice!

Notable Characters:
Absolutely every single actor and actress on-screen held their own beautifully. To highlight any one is difficult enough but I am going to draw your attention to two specific figures. The first is Joseph Gordon-Levitt who offers a great performance on top of spectacular visual sequences that look and feel breathtaking. But more importantly, Leonardo DiCaprio has proven once again that at his young age, he is one of the finest actors of his generation. Granted, he works best with angst-riddled characters but the man has gone from teenage heart-throb (think Romeo+Juliet and Titanic rather than What's Eating Gilbert Grape?) to extremely accomplished artist. There are an incredible amount of similarities between his performance here and that in Shutter Island - an extremely underrated film that will probably end up on my Best/Worst of 2010 list - but I don't believe this to be a negative aspect, just an interesting comparative point to highlight. As stated, everyone did a fantastic job and I don't believe I could fault any performance but DiCaprio still stands out as this project's MVP. . . . I hate using sporting terminology in film reviews. Damn it.

Highlighted Quote:
ROBERT: "I know, Dad. You were disappointed I couldn't be you"
MAURICE: "I was disappointed that you tried"

In A Few Words:
"The art of cinema has a new high bar.. there is simply nothing else to say"

Total Score:
10/10


Matthew Stogdon