Inception

Inception marks an important reference point in the long-fought debate surrounding special effects and artistic credibility in the high budget blockbuster. A shining example of a budget put to good use, Christopher Nolan further proves that mainstream distribution and success are not synonymous with artless crowd-pleasing. CGI has been minimised where possible in the production of this film, Nolan as usual choosing instead to foreground stunts and pump money into on-camera special effects. An ideal example of this is a fight scene in a revolving corridor, all of which was filmed for real in a 35-metre long tunnel spinning at six revs per minute. It is unalienating; unjarring. Plush, surreal environments are beautifully and expertly conjured without the contrived, distant feel produced by CGI overuse.

Plot is something which cannot be overlooked in any discussion of Inception as a movie, the premise is inspirational. In a world where one's dreams can be infiltrated, a group of contract thieves are paid to "extract" important information from the oblivious, sleeping minds of their victims. However, when they are asked instead to plant an idea in their mark's mind, an elaborate scheme must be developed to reach the deepest corners of a man's subconscious. Dom Cobb (Leonardo DiCaprio) and his team must enter a dream within a dream within a dream in order to plant a seed that will soon reach up to the surface. Nolan's intelligent, (quite literally) layered narrative provides weeks of discussion (for which this is not the arena), while still remaining followable with countless visual signifiers to maintain audience comprehension. For instance the complexities of time comparison across the various planes of reality are clearly defined through tasteful slow motion and an insightful avoidance of overcomplication in editing. At no point do the many worlds become overwhelming.


It is also a testament to Nolan as a writer that among all this entanglement and intricacy, a gripping depth of character is maintained without convolution. While other characters are not explored quite as thoroughly as DiCaprio's, his impressively complex profile is an unmissable opportunity for any actor talented enough to materialise the role. And DiCaprio, as usual, certainly does not disappoint; his wildly intense yet understated performance could have Gary Cooper on the edge of his seat, and the worsening state of his tortured psyche is conveyed with utter realism. Acting is in fact notably accomplished on almost all counts: Ellen Page is solid in the role of Ariadne as she unpicks Cobb's increasingly troubled mind with an unassuming maturity and intelligence; the uncertainty and vulnerability emanating from Robert Fischer (Cillian Murphy), the team's mark and grieving heir to an empire warrants genuine sympathy even for a relatively functional role; also hugely likeable are Eaves (Tom Hardy) and Arthur (Joseph Gordon-Levitt), whose brotherly rivalry is sharply written, sharply acted, and even more sharply dressed.

The film as a whole represents an elegant artistry in writing, direction and cinematography without sacrificing warmth and character. It takes the age old theme of crisis of reality as addressed in films like The Matrix and Shutter Island, but rethinks it from a multitude of new angles simultaneously, resulting in a masterful intricacy worthy of a second cinema watch at the very least.