Rating: 4 stars (out of 4)
Earlier this year, Leonardo DiCaprio teamed up with Martin Scorsese for the astonishing Shutter Island, a profoundly disturbing foray into the mind of someone who didn’t always know what was real. Now, a few months later, he’s paired himself with Christopher Nolan for Inception, a profoundly dizzying foray into dreams and reality. From the guilt-ridden memories of a dead wife down to the nature of illusion and perception, Inception shares more than a few similarities with Shutter, and, while Inception is a very different type of film, the quality and impact are very nearly the same—which is extraordinary praise. All told, DiCaprio has put together one of the best years for an actor in the past decade.
Inception’s plot, enveloped in secrecy as hype mounted before its July 2010 release, seemed labyrinthine when the teasers and trailers were leaked, and watching it once hardly clears everything up. To sum up as much is necessary: Cobb (Leo) practices a form of theft called extraction, whereby he breaks into a person’s mind, invading their dreams to exploit their subconscious at a time when its defenses are lowered. He’s recruited by a wealthy businessman named Saito (Ken Watanabe) for a more dangerous, more captivating, idea: “if you can steal an idea from someone’s mind, why can’t you plan one there?”
Thus, the “Inception” of the title represents planting an idea in someone’s mind, while he dreams, that is subsequently believed to be self-conceived. A fascinating concept, to be sure, and it’s one that, the film implies, Cobb has been toying with for years. He’s most attracted to Saito’s offer, however, because he’s promised the ability to return to America, something that hasn’t been possible since the death of Cobb’s wife Mal (Marion Cotillard). So he enlists long-time associate Arthur (Joseph Gordon-Levitt), an architect named Ariadne (Ellen Page), and other merry men, much like Danny Ocean assembled his team of thieves.
Soon, Cobb and his team are hurtling themselves into dreams within dreams within dreams; before seeing this movie, I already thought that ‘false awakenings’ were perhaps the creepiest thing I could contemplate, and here, the subject would have to ‘wake up’ 3 times to actually return to reality. And in the process, Nolan creates some of the most astounding, awe-inspiring visual sights I’ve ever seen: a Parisian city folding over on top of itself like an Origami creation; water bursting through the sides of a building in a dream as a person is dropped into a bathtub; a freight train barreling down a highway, tossing aside cars as though they’re flies; structures that disintegrate, piece by piece, into the ocean; and, above all, that zero-gravity fight scene that has left me and everyone else jaw-dropped. It simply has to be seen to be believed, probably should have been longer, and—along with everything else—should ensure that Nolan has all of the technical and visual Oscars locked up for 2010.
The idea that Cobb’s team are instructed to plant concerns the heir of a wealthy corporation (Cillian Murphy) dissolving his father’s empire, but Inception truly advances the motif of family devastation and reconciliation through Cobb, in his motivations for accepting the job and his own subconscious guilt that has been dogging his work. Nolan, who spent 10 years working on the script, drives the plot forward with a remarkable amount of efficiency and stability—upon subsequent viewings, the film feels more coherent, not less, and everything just seems to fall into place precisely where it should. The notion of dreaming, of invading someone else’s mind, of challenging the idea that everything that occurs inside our head is ours and ours alone, faces stricter and stricter tests as the film progresses. And, simultaneously, Nolan ratchets up the action as the climax approaches, helping obliterate the potential torpor that could be engendered by a two-and-a-half hour running time.
I won’t get too bogged down in discussing theories and deciphering plot details; that’s not the subject of a movie review. But I’ll say a few things to indicate how much I’m fascinated by this discussion. It’s critical to note that it seems that Nolan, in the world he created, did not actually give us/his characters a way to differentiate dreams from reality—only to differentiate being in someone else’s dream or not. Unless that top was a special type of totem (which I haven’t ruled out), it can’t differentiate reality from a person’s own dreams. Because of that, and because the top may not have been Cobb’s actual totem (since it was his wife’s), the final shot—fascinating as it is, theoretically—is more a red herring than anything else.
I’ll say that I’m immensely intrigued by the scene where Cobb tests out his chemist’s (Dileep Rao) sedative, wakes up and tries to spin the top, and doesn’t actually do so—was he still in a dream from that point onward? And I’m essentially convinced that the last scene does not represent ‘reality’…a position that, of course, hardly limits the number of possibilities of what did happen.
At first, I thought that Inception, though great, had a bit of an inherent ceiling built into it, since it was more of an action-packed thriller than an intense psychological study (compare with the superior Shutter). And several reviewers noted that it resonated more strongly on an intellectual and visceral than an emotional level, and that may be true. But, upon further reflection, I realized that I was fascinated by the notions that Nolan floats: that, once it takes hold, an idea can rarely be eradicated or changed within someone’s mind; that we have no way of knowing whether our world is real or not (Descartes’s “Dream Argument” that also informed Shutter) and, critically, that it doesn’t matter whether that top was about to fall over or not.
That is where Inception truly hits me like a ton of bricks; the more I’ve debated it with people afterwards, the more I’ve come to accept a very similar theme to Shutter. We wonder what was real, and what was just in Leo’s head—and we debate theories proposing that everything we saw was a dream, or that someone was performing inception on him—and we decide that the distinction doesn’t matter. Scorsese’s film emphasized the blur between sanity and insanity; here, the blur between dreams and reality is used to tell us that what’s ‘all in our heads’ can be real. In Cobb’s mind, he had resolved his guilt, had moved his way past the stress that was infesting his life, had forgiven himself to the point where he could see his children. His turning away from the totem at the end indicates that he doesn’t particularly care, that he shares a philosophy put forth about halfway through the film, a line that when I first heard I immediately stored in my brain as a potential movie theme: “Their dreams have become reality; who are you to say otherwise?”
So, yes, there are a couple tiny flaws within Inception; I still wonder if it could have been more philosophical, but, as I have to tell myself, not every great movie has to be brooding and contemplative. Inception has it—that indefinable trait that enables it to still floor you, still leave you drained and tired, still make you want to remain planted in your seat during the credits, after 4 viewings in 3 weeks. It’s the trait that makes it stick in your mind long afterwards, that keeps you awake at night as you toss and turn its ideas around in your head like a spinning washing machine. It’s not just a complex plot that invites discussion about ‘what happened’; it’s more than that. It’s not just filled with delectable visual treats. It’s all of those things—and my, is it those things—but it’s a classic, a 4-star movie instead of a 3 or 3.5, because it has it.
Made in a time when movies simplify themselves, cater to the least common denominator, and bank on re-makes and sequels and adaptations, Nolan’s movie is an incredibly creative work, and every aspect of it is performed with pristine crispness, as though everyone involved realized its potential and didn’t want to be the weak link. The cinematographer (Wally Pfister) and film editor (who at one point has to piece together scenes from 4 different locations and dreams states while still keeping us on point) have to be recognized at Oscar time along with Nolan. Hans Zimmer’s score is an outstanding touch, something else that buzzes around in head long afterwards. From the actors, there’s not a bad performance here, as supporting characters from Page to Watanabe to Cotillard to Tom Hardy enliven the screen. But at the center of it all, in almost every scene, is DiCaprio, who trims his performance of any movie-star fat yet still commands the screen. In a scene at the end, when he closes his eyes and makes his entire body sigh, feeling the weight of his guilt leaving himself, he imparts a bit of his character into everyone in the audience.
The world’s strongest virus, Cobb says, is an idea, because we can’t forget having thought something, and we can’t deny what we believe, even if we rationally think otherwise. So, in your mind, is your top still spinning? And do you care?
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