”You mustn’t be afraid to dream a little bigger, darling.”
Christopher Nolan certainly wasn’t afraid to dream big. Originally pitched to Warner Brothers back in 2002, Nolan spent almost eight years developing the intricate $200 million action-thriller, Inception. Nolan applies the blockbuster approach of The Dark Knight with the mindfuck methodology of earlier films like Memento to this high concept take on the heist movie.
Leonardo DiCaprio stars as Dom Cobb, a world-class thief who has taken corporate espionage to a new plane of existence. He doesn’t break into bank vaults, he breaks into dreams. Known as “Extraction,” Cobb hooks his slumbering victims to a Matrix in a suitcase in order to steal their deepest secrets or sacred ideas. Cobb and his right-hand man, Arthur (Joseph Gordon-Levitt), have failed their latest extraction on wealthy businessman Saito (Ken Watanabe). However, Saito is impressed enough that he hires them for the impossible task of “Inception,” where an idea is planted into someone else’s mind.
The mark is Robert Fischer (Cillian Murphy), who will inherit an energy conglomerate from his dying father (Pete Postlewaite). Saito wants the son to break up his company thereby preventing a near-monopoly that would squeeze out Saito’s own corporation.
So Cobb assembles his team consisting of Arthur; Yusuf (Dileep Rao), a chemist who is an expert at sedatives; Eames (Tom Hardy), a forger who impersonates others inside the dream; and newcomer Ariadne (Ellen Page), an architect charged with crafting the world of the dream. Nolan gets a little playful in naming her after the character from Greek mythology who led Theseus out of the labyrinth of the Minotaur.
Sharing dreams with Cobb, Ariadne discovers the dangers that have leaked out of his subconscious. Cobb is a wanted fugitive who has left behind his children by fleeing the States. His troubles stem from the death of his wife Mal (Marion Cotillard). She lives on in his mind, but twisted by his own guilt, she attempts to kill Cobb and his team at every turn.
The second act of Inception follows the formula of other con game movies like The Sting or Ocean’s Eleven. The team plan and practice their scheme. The third act involves creating a multi-layered dream world to ensnare their target. These dream worlds aren’t as surreal as the ones seen in Eternal Sunshine of the Spotless Mind. It’s less Charlie Kaufman and more Michael Mann with a dash of M.C. Escher. The movie isn’t nearly as confusing as one would expect. Nolan helpfully provides more than enough exposition to keep everything clear. Therein lays the film’s biggest weakness.
The majority of the dialogue is entirely functional in that characters are simply explaining things to each other. As the eager newcomer, Ariadne serves as a stand-in for the audience. She’s there to be introduced into Cobb’s world so that we are as well. It feels a bit insulting for Nolan to hold everyone’s hand at each step. We don’t really get to know any of the characters beyond the genre archetypes of fresh-faced rookie or nerdy tech guy. One of the film’s best scenes is a quickie involving Arthur stealing a kiss from Ariadne. It’s a rare moment in which the characters are allowed to simply be themselves.
The strengths of Inception lie in its original concept and spectacular visuals. Nolan is like the cerebral Michael Bay. He’s a master at creating widescreen spectacle, yet there is substance to the style. There are some amazing images to be found here, from a crumbling cityscape to a Parisian boulevard that is literally folded in half. Nolan still struggles with crafting coherent action sequences. A car chase through the rainy streets of downtown L.A. isn’t nearly as thrilling as the chase from The Dark Knight and a James Bond-esque battle at a snowy fortress is disorienting. On the other hand, a gravity defying fist fight in a hotel hallway is well done. Nolan and long-time editor, Lee Smith, deftly intercut the various dream layers during the climax. Neither are Nicholas Roeg, but they get the job done.
The ensemble cast is excellent all around with Tom Hardy and Joseph Gordon-Levitt providing a pair of great supporting performances. Ignoring G.I. Joe, Gordon-Levitt is easily at the top of the heap when it comes to young actors working today. Watch him in this along with Brick and The Lookout, if you don’t believe me. For the second time in a row, DiCaprio plays a tortured widower. He’s the glue that holds the film together, playing well with the other actors. The exceedingly gorgeous Marion Cotillard is pitch perfect as the film’s femme fatale. If DiCaprio is the Batman of Inception, then Cotillard is his Catwoman. You know, I wouldn’t mind seeing Cotillard in black leather leotards and cracking a bullwhip. Either by coincidence or design, Nolan throws in a nod to her Oscar-winning turn in La Vie en Rose by utilizing Edith Piaf’s “Non, Je Ne Regrette Rien” at a key moment.
After suffering through the inane schlock of last year (Transformers: ROTF), it’s refreshing to see that 2010 has brought us films like Green Zone and Inception, action dramas with a brain. Inception does get bogged down with exposition, but it’s saved by a great cast and stunning visuals. Even with a runtime of 148 minutes, it moves at a brisk pace. It is definitely the shortest 2 and a half hour movie I’ve ever seen.
Rating: *** ½
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