Knowing the details of how Inception unravels will not ruin the film for you but going into it as a blank slate is still the most rewarding way to initially experience it. So it is enough to simply say that Leonardo DiCaprio plays Cobb, an expert in extraction, which is the art of stealing secret information hidden in people’s subconscious. He and his team face their biggest challenge yet when they are tasked with inception – the seemingly impossible act of implanting thoughts into somebody else’s subconscious.
Films depicting different levels of reality that projections of the mind can occupy are now reasonably familiar. The Matrix first introduced the concept to mainstream cinema audiences and this concept has since appeared in films as diverse as eXistenZ and Eternal Sunshine of the Spotless Mind. Inception owes something of a debt to all these films, plus Dark City, but it is still a boldly original work that takes the idea in a new direction. Director Christopher Nolan has worked with complex narrative structures before in Memento. Batman Begins and The Dark Knight demonstrated his stylishly cold spin on the film noir aesthetic in his portrayal of the hostile city. All these elements come together perfectly in Inception to make it Nolan’s masterpiece to date.
Part of what makes Inception so remarkable is that it has been made to appeal to the broadest audience possible. The film’s internal logic in the way it depicts how the subconscious operates is carefully thought-out and explained in terms of how different levels of the subconscious can have temporal and spatial effects on the others. These ideas end up facilitating the extraordinary lengthy action sequence that takes up the final act of the film. It is conceptually complex but written so well that you are never confused about what is happening. There is nothing wrong with cinema that leaves you puzzled, perplexed or confused but it is also extremely impressive to experience a film that is mind-bending in such a digestible way. At the same time, at no point does Inception feel dumbed-down or overly explanatory, which was the significant flaw in Nolan’s The Prestige. In 2010 both Toy Story 3 and now Inception have demonstrated that big studio films don’t have to be disposable products only aimed at short attention spans.
Inception is cinema at its most rewarding. Hans Zimmer’s score complements the visuals and the emotional rushes throughout the film. It contains a lot more characters of importance than in most films of this nature and yet they are all fully fleshed out and identifiable. Inception is the sort of film that future films will be compared to for its structure, writing, concepts and action. Cinema is rarely this engaging on so many levels and if you have any doubts then they will be gone by the final shot that cuts to the credits at the most perfect moment possible.
© Thomas Caldwell, 2010