Tuesday, 3 August 2010


After watching Inception, I must say I'm rather looking forward to dreaming tonight, although sadly my dreams tend not to involve Leonardo DiCaprio.
He stars as Cobb, a thief living in a time when it is possible to connect to another person's dreams. Cobb is enlisted by millionaire businessman Saito (Ken Watanbe) to lead a team into the mind of Robert Fischer (a perfectly sensitive Cillian Murphy) through his dreams, and plant the idea in his head to disband his dying father's company to rid Saito of any competition. However they must do this without Fischer knowing it is a dream, and making him think that it is his idea to break up the company. This concept is Inception.
Cobb convinces architect student Ariadne (Ellen Page) to design the locations of the dream, while Arthur manages the technology of connecting to dreams, Yusuf handles the driving, and Eames the strategy. It involves creating a dream within a dream within a dream, and from here it gets complicated.
Ariadne discovers another little problem: Cobb's dead wife, Mal, who appears to him in his dreams and urges him to join her, as he promised he would. When she was alive, while they were dreaming, Cobb had given her the idea of a reality in a dream, which she then set out to pursue, killing herself in the process and alienating Cobb from their young children.
If Cobb can make Fischer disband the company, Saito will ensure that Cobb is reunited with his children, but will Mal make things even more difficult for Cobb?
Inception is a conglomeration of all that a great movie should be: a unique plot, fine storytelling, stunning cinematography, all backed up with collectively good acting performances. Here, we are spoiled for choice. The effectively understated DiCaprio, Page and Murphy are given stellar support by Watanbe, Joseph Gordon-Levitt, Tom Hardy and Marion Cotillard.
Director Christopher Nolan has delivered a fiendishly complex, unpredictable, and intelligent film. It baffles the mind and indulges the senses.
The more spectacular of the dream sequences involve Ariadne's vertical manipulation of skyscraper-lined streets, a fist fight in a rolling room, and Cobb and Mal's single-handedly-built dream city; all set to a dramatic yet subtle score by Hans Zimmer, with some help from Édith Piaf.
It is said that an hour in a dream is five minutes when awake. Inception certainly did not feel two and a half hours long; rather it whizzed by as though it was only twelve and a half minutes.

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