[Movie] Inception - Page 47

Inception

This review may contain spoilers

I just watched a dream. I just watched an idea, like many viewers around me, we just watched a creation of a dream that is inception.

Inception is sexist, it's witty, it's charismatic and the birth of Memento and the Twilight Zone. This is the matrix of the Matrix, of the Matrix of our reality, which, in turn, is the convoluted form of reality.

Inception is only needed to be seen once and only once. Inception breaks all laws and forms of narrative commonly found in cinema and details blurred boundaries to its viewers of what can be perceived, understood and seen. Inception only needs to be seen once between recalling what it is, is the whole aspect of the movie. Do you remember the beginning? Middle and end as vividly as you recall days or hours later after seeing it? This may be just me, but I don't quite recall. Inception is a fleeting dream, an idea planted inside you as you, arbitrarily, are asleep [so to speak]. Go figure: while in the movie, you are calm, the lights are off and everything you see projected in front of you seems real [you know you're watching a movie, just like you know you are dreaming] and you are taken through an adventure, rushed through passion and emotion like a vivid dream you want to wake up, but you want to see it through the end. You can't recall quite where you started and you can't recall quite where you ended, but at that present moment, where it seems like time has slowed down [this part may be anecdotal, but whenever I entered a movie theater and leave, it's always dark and I go: "Huh... dark already?"] all your focus is on one thing and one thing only...

Inception is a love story, an underlying nature a la Chuck Palaniuk. Everything is symbolic in this movie and yet, clash heavily with obnoxiousness. The music was subtle, hidden, but at key moments, it would yell and cover the voices of the actors [I saw it in Imax, so it could be purely just me] where you could barely hear them, much like music would in the dreams during the film. The explanation of paradox illusions like Penrose Stairs? Anyone feel like the narrative and editing was similar? I may be digging too far into this film, but then again, interpretation, the gray area of reality, illusion, projection and the sub-conscious is equally as convoluted as this review may appear.

The acting was superb. Nothing says jackpot like a diverse cast of members representing many nationalities and ethnic groups: Christopher Nolan takes Leonardo DiCaprio, someone who can easily pull of a guilty-minded fellow and slips him with a cool and grown Joseph Gordon-Levitt, a young Ellen Page, Ken Watanabe [a personally favourite of mine] and Cillian Murphy and clashes them in an intricate description and baffling ride of dreams, reality, truth and logic.

Inception is nothing short but superb, meaningful and symbolic beyond our own comprehension. It is sexist, yet truthful and uses everyone to represent the personalities and traits of our mind. Marion Cotillard [Mal] is french actress, much like her character's name which, if direct translated, means evil or bad, harmful or deep. She is Cobb's emotions; the contrary common view of logic and rationality. Emotion [Mal] disregards all understanding to the wind and just devotes itself to a place where nothing changes, so long as it has someone it clings to. Joseph Gordon-Levitt [Arthur] is Cobb's rationality, he dislikes Mal, but knows damn well she is "lovely", she is everything to Cobb, but goes against the nature and intelligent mind. He warns Cobb about her, how she sabotages all ideas and plans; a form of guilt? Maybe she is the conscience of Cobb, a sort of restraint or prevention from proceeding onto something that is forbidden, that is disliked and just to stay with her, together, some place ideal and redundant: Limbo.

Can there be a limbo within the limbo? Quite possibly. Paradox Illusions surely dictates that something can be unknowingly different unless the person falling for the trick comes to reality, or the realization that this is simply a loop. Notice the children never age? Notice how they are doing the exact same thing they did when we first saw them? Their faces are reveal, but how do we know that's not just the final projection, an illusion of reality created to appear as if he's returned from the abyssal lop-sided form of love and death as he finally let's go of his wife to achieve the whole [the children] that is created by the two halves [Cobb and Mal]. The totem doesn't stop and so we wonder if it ever will, or if it should. What would his reality be? A spur of ideas might just be floating through your head, a tangent created in the end by Nolan as the credits roll...

This is so much more to say, but as I write this, I start to forget and things start to blur, the camera work toys with us, intentionally blurring small scenes before kicking us back into action. The action is equally censored by shaky and awkward angles, a la Bourne Identity, a common trick seen a lot in films nowadays.

Overall, this movie is a 10/10 for me. There is literally no complaints. The movie was intentionally long, or time may feel long because so much as happened, you decide.