In a deliberate ploy, Warner Bros. and director Christopher Nolan kept his followup to the 2008 phenomenon “The Dark Knight” shrouded in mystery for a very long time. Cast and crew were tight-lipped also, only small fragments of information were let slip: Your Mind is the Scene of the Crime the tagline taunted, sci-fi then, an intense thriller set within the realm of virtual reality, dreams to be more precise, visual effects galore and a stellar cast to take us there. One thing was sure – it was going to be big. That is on both setting and financial scales, the project apparently devouring several hundred million dollars. One could certainly call it a gamble. Could whatever Nolan had dreamt up (pun intended) be another cash cow for the studio as Batman Begins #2 was, could fans be satisfied when not knowing what to expect and, perhaps most importantly could it ever live up to all the hype? To those of you waiting with bated breath let me put it simply: It’s a huge and resounding Yes!
The film’s plot revolves around Leonardo DiCaprio’s Cobb, a con-man who’s day job consists of stealing ideas from the minds of his victims, but takes up a different task: Inception. That is to plant rather than extract an idea. The stakes are high – should he be successful he may see his two children again, if not he will be trapped forever in “limbo”, a dream-wasteland of the mind. A team is quickly assembled, consisting of his regular co-worker Arthur (Joseph Gordon-Levitt), the young architect Ariadne (Ellen Page) and others including Tom Hardy and the actual contractor, Ken Watanabe’s Saito. The target of the whole operation (which of course goes horribly wrong at the first corner) is Cillian Murphy, who as a rich business man’s son should (for Saito’s business interests) break up his dead father’s empire. Complicated? Believe me, this synopsis barely scratches the surface.
Yet Nolan manages to keep both film and audience on track with professional ease. Because it’s not like “Inception” is exclusively intellectual. The movie is equally concerned with explosions, gun-fights, fist-fights (in zero-gravity no less, “The Matrix” should watch its back!) and all round action entertainment. It’s a delicate balance but Nolan keeps all the mayhem in check, so it doesn’t necessarily matter if you’re not entirely sure what’s going on all the time. Central to this is clearly the mentally unstable Cobb. Tortured by his dead wife Mal (Marion Cotillard) as well as his children, loosing grasp on what is real and what is not, DiCaprio’s performance is his most mature yet (and that, by now is quite mature) and weighty, most of the movie’s heavier emotional moments resting on his shoulders. That is not to say the rest of the cast are merely sidekicks or serve comic-relief functions: Gordon-Levitt is quietly dangerous, Murphy excellent in crumbling slowly from the inside and, well, there’s something about Ellen Page. Quiet, too, unconventionally attractive and the the film, thankfully, never asks her to portray a love interest.
Best of all are the visuals. Firstly, the constructs of the worlds in dreams, the set pieces as you might say. “Dreams feel real while we’re in them. It’s only when we wake up that we realize something was actually strange” Cobb says. Whether rain-soaked metropolis or mountain peak snow-fortress, these worlds feel real to the viewer. Only like this can it take a van 30 minutes to hit the water after driving off a bridge without our interest waning. The second is Wally Pfister’s sweeping cinematography. Like in Gotham, Pfister’s camera keeps a fantasy world rooted firmly in reality. Combine these with the photo-real CGI and the results are breathtakingly spectacular.
Hans Zimmer who wrote the original score for the film is now officially Nolan’s composer of choice. Let’s not forget that it was Nolan also who convinced Zimmer that a film’s music should meld flawlessly with its sound effects. But, there comes a point in everyone’s life when one is fed up with simplistic writing, endlessly looped string ostinatos and low brass roars. For me, “Inception” is that point. I’m a huge Zimmer fan, don’t get me wrong, I even tolerated the Batmans, but this just goes too far. Any creativity left in Zimmer’s previous work has gone right out the window. Frustratingly, in his own opinion the composer seems to regard these sound-effect landscapes as intelligent constructs and hired Johnny Marr (guitarist of “The Smiths” fame) to prove it. Bottom line: it’s not intelligent, in fact it’s the opposite. It’s overly simplistic, an adequate but nowhere near good effort by Zimmer, in short it’s lazy writing. Doubtlessly I will be criticised for this rant but in my opinion he’s just gone down the wrong road.
Whatever about the music, “Inception” is the blockbuster movie to see this summer. An intelligent sci-fi epic with enough to please most camps of the movie-going species, this is quite simply a compelling 148 minutes. I will say that repeat viewing is advised, your appreciation of the complex plot and powerful performances can only grow. So beyond our wildest expectations Christopher Nolan has done it again! Bring on Superman and Batman 3…
I promise that from now on my reviews will start to come a little faster again – I just need to force myself to write regularly! If you have any comments at all I’d love to hear from you so please leave your thoughts. Also please follow me on Twitter or sign up for the RSS feed above. Until next time I wish you all the best!