Directed by Christopher Nolan
As effectively or gratuitously as the dream sequence has been used in movies to throw viewers off their game, Nolan deconstructs the very concept of dreaming with a movie that is essentially one long extended dream sequence. Nolan’s many influences are on display from crime noir to Bond to Escher as he strings together a number of ideas to form the concept of how dream sharing–literally having multiple people inhabiting the same dream–can be used as a form of corporate espionage in order to get into competitor’s minds and extracting their most well-guarded secrets.
As much as some will immediately compare Nolan’s latest to “The Matrix” in that it also plays with the concepts of reality, “Inception” is like “The Matrix” times 10, as if you took that meeting between Neo and the Architect from “Reloaded” and stretched it out across an entire film.
This is established almost immediately as Leonardo DiCaprio’s Dom Cobb and his accomplice Arthur, played by Joseph Gordon-Levitt, are in the midst of trying to persuade Ken Watanabe to use their abilities to prevent his own mind from being invaded by corporate “extractors.” From this first series of sequences, Nolan creates a timeless look and feel with both aspects changing regularly depending on whose dream we’re experiencing. Once things go sour on that first mission, Cobb needs to find a new “Architect,” someone who can create believable dream environments for Cobb’s elaborate dream to bring their targets in order to extract ideas, being introduced to Ellen Page’s Ariadne, who quickly masters that skill.
There are many big ideas at play here, some that will be familiar to those who have read up on lucid dreaming, but it’s the way Nolan uses this dream theory within the context of a corporate espionage setting that makes “Inception” so infinitely fascinating. It immediately gets into the idea of having dreams within dreams, and that’s where things get a little harder to follow as it creates a complex story that cuts between these layers. More importantly, the film deals with dream addiction, something we’ve all experienced at one point or another, where the real world just doesn’t compare to the ones we can create in our minds as we sleep. There are also a few specialized concepts involved with shared dreaming called “totems” and “kicks,” both which would take up way too much time and space to explain.
We don’t want to give everything away, and believe us, we haven’t. Knowing the above is like a chef placing random ingredients in front of you and letting you try to guess the final product he’s trying to create. In that sense, Nolan acts like one of the magicians from “The Prestige” to create a rich, layered story disguised as an espionage thriller, delving into territory both Grant Morrison and Warren Ellis have explored in comics, but making it work on film. That being said, you don’t have to understand every single idea being explored or explained to be able to follow the story. Almost as soon as Nolan has established the rules, he immediately throws a monkeywrench into the works as soon as the team attempts the even more complicated process of inception with the son of a mogul who recently passed, a character played by Cillian Murphy. This is where things get interesting as we see how much Cobb and his team have to plan everything down to the minutest detail.
As far as what Leonardo DiCaprio brings to the mix, “Inception” is everything that “Shutter Island” should have been, as he is playing a similar character with demons related to being separated from his wife and kids, something that starts to affect the mission. The fact Leo seems dressed and coiffed like Nolan makes you wonder where the filmmaker’s head may have been at while conceptualizing this. Considering how many original ideas have been spawned from Nolan’s brain, it’s surprising he might use himself as a model for a man whose job it is to steal ideas from others.
Those who can only take Leo in small doses should be equally entertained by the exemplary work by everyone around him, Marion Cotillard being as amazing as ever, making just enough appearances to make a serious impact every time she’s on screen. Similarly, Cillian Murphy is quite impressive with a far more well-rounded role and performance than in Nolan’s Batman movies, playing the corporate target of Cobb’s team. It’s a role that could have been phoned-in, but the character has enough layers to give Murphy more to work with. The rest of the ensemble is just as impressive, playing a bigger part in the story than just being there to bolster Leo. Joseph Gordon-Levitt and Ellen Page are great, and Tom Hardy brings some humor to it while playing things down compared to “Bronson.” You know you have a great cast when a small appearance by Michael Caine isn’t the most memorable moment in your movie.
Despite trailers focusing on all those wild dream-like images of cities turning to rubble within seconds, Nolan doesn’t go overboard with using those images just enough so they’re quite effective. Although the character’s emotions are mostly kept to a minimum during the missions, there’s an emotional resonance to the entire thing because everyone will be able to relate to allowing the subconscious to permeate their dreams. This ultimately plays a large role in the powerful emotional climax of the movie.
The James Bond influence doesn’t come into full effect until the movie reaches the climax of the mission with the group ending up on a snowy mountaintop invading a stronghold guarded by hundreds of assassins on skis and snowmobiles. As fun as it always is seeing Nolan delve into action, that’s very much a red herring for what the movie is really about. The results are a fully immersive experience with a resolution that’s so much more satisfying than “Shutter Island,” and it’s likely to leave you questioning what is real for a long time afterwards.
The Bottom Line: