Inception – 5*
No film is ever ‘perfect’, especially at the time of release, though many a film critic will have their favourites that nearly touch that impossible mark. What these films become are examples of near perfection in their own right, studied and lauded by all. The Dark Knight director Christopher Nolan many well have placed his latest work of art, Inception, in the same sort of ‘sci-fi royalty’ category as other greats like Blade Runner, Aliens and Citizen Kane. It’s a bold statement to make, but one that is totally justified. Written and directed by Nolan, Inception is the first original, cerebral masterpiece of mind-warping proportions in a long time complete with superb casting and a style so slick it’s like poetry in motion to watch.
Doubt anyone who claims to get what’s happening in one viewing. This film makes you work hard and demands a second sitting. But this is far from laziness on the film-maker’s part. It’s the mark of game master. Whilst trying to figure out whether you are still witnessing a dream, within a dream, within a dream, or reality, each carefully crafted scene has so much trickery and visual wonder in it that it would be a crime not to revisit it. The only criticism might be that it’s too clever for its own good at times, trying to explain its concepts within the narrative. But we are captivated by its ideas, transfixed like a magician’s stage volunteer, afraid to stop and question it for a second, in case we miss anything crucial. That’s Inception‘s power.
Such a blockbuster needs a strong and magnetic protagonist, like Harrison Ford as Deckard, or Welles as Kane. Inception has DiCaprio as its helm, guiding us through his troubled world as covert dream thief Cobb who has some personal demons that threaten to destroy his last job to promised freedom – his life back in return for incepting a dream/idea into a heir to a corporation’s mind (Fischer, played by Cillian Murphy). His problems also threaten the lives of his loyal counterparts who design and ‘take part’ in the inception process. It’s the ultimate in corporate espionage, getting the victim at their most vulnerable when they are asleep.
This is DiCaprio’s finest hour (or make that nearly 2.5 hours of twists and turns). He engages his audience completely, forever unsettling us as to his character’s true nature or intentions, and demonstrating a raw vulnerability that keeps our empathy with Cobb alive. Cobb must be a good person, surely, as he is a devoted father who wants to return to his kids and see their faces again? In these more comforting moments, Nolan has cast Batman stalwart Michael Caine as Cobb’s father, Miles, that reassuring figure of authority, our anchor to reality – but just whose, is the big question?
The rest of the stellar cast, including Joseph Gordon-Levitt, Ellen Page, Tom Hardy and Ken Watanabe as Cobb’s team are the cream of the Hollywood crop, an intoxicating union on screen that only adds to our fascination. Thinking man’s babe Page once again demonstrates why she has an established career ahead of her, and Gordon-Levitt and Hardy give such accomplished performances that these will only go to up their studio credibility and longevity. Such a visually exquisite film needs a natural beauty to counter balance its architectural awe, and French actress, Edith Piaf songbird Marion Cotillard embodies the role of Cobb’s late wife, Mal, breathing life and grace into the part of the haunting and complex character. She is like any latter-day screen heroine in this, bringing a classical charm to the whole affair not seen since Hitchcock’s reign, combined with a fresh, contemporary perspective to her role. You almost don’t recognise the surgically enhanced Tom Berenger as Fischer’s late father’s lawyer Browning, with dying Fischer Senior played by Brit acting great Pete Postlethwaite. This collection of fine acting talent represents what can be accomplished in combination with a brilliant writing/directing.
Let your mind become the scene of the crime, open to Inception with this summer film-noir blockbuster. Borrowing Gotham’s moody facades and Bond-styled action sequences, Nolan has given us what we’ve all craved in a long time – a worthy and beautifully executed film that stands out on its own, so mind-blowing that it will render you speechless as you walk out of the cinema, like Cobb and co have been playing your mind as you watch. Anything’s possible…
5/5 stars
By L G-K
