(no subject)
INCEPTION:
First of all, I want to acknowledge the fact that this film is getting a lot of hype. Naturally, I am skeptical of anything that receives a large amount of hype (see: that fucking Twilight saga or The World Cup.) Suffice it to say, the hype for Inception is completely warranted, and I would go as far as to say that it is the best film I have seen this year thus far.
On a more personal level: there is one sole reason I absolutely loved this film. This film is the entire reason I decided to go to film school and pursue making my own films. It is visually breathtaking, and conceptually complex and thought provoking. The acting is nothing short of stellar. And the music ... well, let's just say that it is my dream to not only make my own films but to have the credits read "Music by Hans Zimmer." He is amazing, and the music was integral in creating the atmosphere for this film.
Now ...
ONTO MAJOR SPOILERS: DO NOT READ IF YOU HAVE NOT SEEN THE FILM
Of course the buzz and conversation surrounding this film has to do with the question of reality posed by the film. What the hell is it all about? There are three major interpretations that I have seen discussed. The only thing for sure I was able to take from the film was the idea that the ending requires the viewer project their own interpretation based on the kind of person they are. Are you a half-empty or half-full kind of person? Or do you question there was any water in the glass to begin with? Or that there is even a glass there in the first place?
The optimist's view of the ending:
The simplest interpretation of the ending, or the "happy" ending, is that DiCaprio's character succeeded in waking himself and Watanabee from Limbo. He wakes up on the plane, their deal is honored, and he returns home to his children. As the camera's lens widens to include the action of both DiCaprio and his kids and the spinning top (which is his only anchor to reality) ... the top spins teasingly and appears as if it is about to topple before the screen goes blank. The optimist believes the top toppled, and that DiCaprio really is home, his mission completed and his grip on reality restored.
The pessimist's view of the ending:
The top continues to spin into eternity following the credits. As a film major and a natural skeptic, this is the ending I most identify with. There are a number of clues within the film which also support this interpretation:
1. The most obvious is that when DiCaprio is finally reunited with his children, they appear in the exact same position and clothing we've seen them in throughout his memories. They do not appear to have aged at all. And although we are given no clue as to how much time has passed from the time he was forced to flee the country and leave his children, we can assume his kids have aged at least a little, which leads me to ...
2. When DiCaprio receives a phone call from his children towards the beginning of the film, his daughters voice is audibly older by a couple of years.
3. The ending is a bit too convenient with DiCaprio's father knowing to pick him up from the airport. As others have mentioned, the grandmother, whose voice was heard during the aforementioned phone call, is not present. This movie is far too complex and thought out for such a large plot hole to go unnoticed by Nolan.
4. DiCaprio is distracted before he can see if the top continues to spin or topples, which suggests that this is no longer of any importance to him.
Another clue that I have read into more myself, that is not explicit in the film:
DiCaprio states on numerous accounts the importance of a person's totem, and that they do not let anyone else so much as touch it. The top he carries with him was his wife's totem's, not his. I would argue right from the start that his totem is deceptive for the audience namely because it was not his to begin with. Although the question is never explicitly discussed in the film, one has to wonder if it's even possible to adopt someone else's totem. I would argue that it is not, and thus DiCaprio's totem is not at all reliable with helping the audience determine whether he is dreaming or not.
To delve even further into this theory, I almost feel as if the totem has been abandoned at the end of the film to the audience, since DiCaprio abandons it before he can see what happens to it. We are the ones who are left to wait and see what happens. However, the totem is not ours, so in effect, it does not even matter whether the top topples or not. It is not a reliable source of determining reality, period.
It was all a dream/Mal returned to reality
I haven't seen too many negative reviews regarding the film. I think the only one I've seen revolves around the idea that "if it was all a dream from the start, then this film is an anti-climatic let-down." I would actually agree with this assessment, though I do not believe it is the case. However, there is one exception I would make and that is if it was all a dream, it is because Mal's "suicide" was in actuality her "waking-up" from limbo like she suggested.
This is admittedly a little far fetched, but I would argue that if it were indeed the case, it might actually be the most brilliant of scenarios. If Mal was indeed correct in believing they were still asleep all along, then it truly brings to question our perception of reality. DiCaprio is convinced throughout the entire film that he "awake," and why should we doubt him? His reality is dark and depressing with his wife having killed herself and framing it to look like he murdered her, so as to encourage him to join in a dual-suicide. He is also exiled and kept from his children, and truly haunted and tortured by the memory of his wife. Who would want that reality? And isn't life just one series of sour lemons after the next?
I like the idea that he was actually asleep and in limbo all along, if only because it was so convincing that he was awake (when ... you know, he wasn't asleep in shared dreaming.) It poses a very thoughtful, philosophical question which ultimately suggests that we don't know shit about reality. It's all perception.
******
I've also briefly discussed a fourth possibility with a friend regarding the idea that it was "all a dream" ... but that instead of "waking-up" after jumping to her death, Mal went deeper and deeper into her subconscious/limbo. And that the reason she continued to haunt him was because he kept going deeper and deeper into limbo himself, and in effect, following her, but not quite catching up. Sensing that his reality was not quite right, he could never rest easy in sleep because her image continued to haunt him. And when he finally confronted her, and his "guilt" as the film suggests, he was actually destroying his last semblance of reality and giving up (in chasing her, and in questioning his reality.) He was finally happy to feel he accomplished something good enough to give him cathartic release, the reward being his reunion with his family, even if it wasn't real. I guess this would go along with the whole "ignorance is bliss" theory.
I'm sure there are other theories, and I'd love to hear them.
That's what I loved so much about this film. It doesn't matter how crazy the interpretation sounds, because some semblance of truth could be attached to it depending on the clues that popped out at you during the film. I've seen it twice now and walked away with different opinions, and that's the true test of a great film. Being able to watch it and still feel like you're watching something new each time.
A Few Last Notes
I can't get over how amazing the visuals were. And not just the special effects (which were spectacular ... especially on an Imax screen.) But just the use of space in the film. That last scene alone was brilliant in being able to show two strains of action at the same time, pitting them against each other in a very subtle form of duality.
The acting was brilliant. I think the only actor I didn't find overly amazing was Ellen Page, and that's probably because her role deviates so little from pervious roles. I've really enjoyed watching DiCaprio and JGL grow as actors. And Marion Cottilard, my goodness ... she gave such an unnerving and haunting performance. I could not keep my eyes off of her when she was on screen (even though I wanted to look away, because let's face it, her character pops up out of nowhere sometimes and I'm almost convinced she's gonna leap out of the screen and eat my face half the time.)
And again HANS ZIMMER ... amazing original score. One day, I swear ... one day ... he will make music for my movies.
First of all, I want to acknowledge the fact that this film is getting a lot of hype. Naturally, I am skeptical of anything that receives a large amount of hype (see: that fucking Twilight saga or The World Cup.) Suffice it to say, the hype for Inception is completely warranted, and I would go as far as to say that it is the best film I have seen this year thus far.
On a more personal level: there is one sole reason I absolutely loved this film. This film is the entire reason I decided to go to film school and pursue making my own films. It is visually breathtaking, and conceptually complex and thought provoking. The acting is nothing short of stellar. And the music ... well, let's just say that it is my dream to not only make my own films but to have the credits read "Music by Hans Zimmer." He is amazing, and the music was integral in creating the atmosphere for this film.
Now ...
ONTO MAJOR SPOILERS: DO NOT READ IF YOU HAVE NOT SEEN THE FILM
Of course the buzz and conversation surrounding this film has to do with the question of reality posed by the film. What the hell is it all about? There are three major interpretations that I have seen discussed. The only thing for sure I was able to take from the film was the idea that the ending requires the viewer project their own interpretation based on the kind of person they are. Are you a half-empty or half-full kind of person? Or do you question there was any water in the glass to begin with? Or that there is even a glass there in the first place?
The optimist's view of the ending:
The simplest interpretation of the ending, or the "happy" ending, is that DiCaprio's character succeeded in waking himself and Watanabee from Limbo. He wakes up on the plane, their deal is honored, and he returns home to his children. As the camera's lens widens to include the action of both DiCaprio and his kids and the spinning top (which is his only anchor to reality) ... the top spins teasingly and appears as if it is about to topple before the screen goes blank. The optimist believes the top toppled, and that DiCaprio really is home, his mission completed and his grip on reality restored.
The pessimist's view of the ending:
The top continues to spin into eternity following the credits. As a film major and a natural skeptic, this is the ending I most identify with. There are a number of clues within the film which also support this interpretation:
1. The most obvious is that when DiCaprio is finally reunited with his children, they appear in the exact same position and clothing we've seen them in throughout his memories. They do not appear to have aged at all. And although we are given no clue as to how much time has passed from the time he was forced to flee the country and leave his children, we can assume his kids have aged at least a little, which leads me to ...
2. When DiCaprio receives a phone call from his children towards the beginning of the film, his daughters voice is audibly older by a couple of years.
3. The ending is a bit too convenient with DiCaprio's father knowing to pick him up from the airport. As others have mentioned, the grandmother, whose voice was heard during the aforementioned phone call, is not present. This movie is far too complex and thought out for such a large plot hole to go unnoticed by Nolan.
4. DiCaprio is distracted before he can see if the top continues to spin or topples, which suggests that this is no longer of any importance to him.
Another clue that I have read into more myself, that is not explicit in the film:
DiCaprio states on numerous accounts the importance of a person's totem, and that they do not let anyone else so much as touch it. The top he carries with him was his wife's totem's, not his. I would argue right from the start that his totem is deceptive for the audience namely because it was not his to begin with. Although the question is never explicitly discussed in the film, one has to wonder if it's even possible to adopt someone else's totem. I would argue that it is not, and thus DiCaprio's totem is not at all reliable with helping the audience determine whether he is dreaming or not.
To delve even further into this theory, I almost feel as if the totem has been abandoned at the end of the film to the audience, since DiCaprio abandons it before he can see what happens to it. We are the ones who are left to wait and see what happens. However, the totem is not ours, so in effect, it does not even matter whether the top topples or not. It is not a reliable source of determining reality, period.
It was all a dream/Mal returned to reality
I haven't seen too many negative reviews regarding the film. I think the only one I've seen revolves around the idea that "if it was all a dream from the start, then this film is an anti-climatic let-down." I would actually agree with this assessment, though I do not believe it is the case. However, there is one exception I would make and that is if it was all a dream, it is because Mal's "suicide" was in actuality her "waking-up" from limbo like she suggested.
This is admittedly a little far fetched, but I would argue that if it were indeed the case, it might actually be the most brilliant of scenarios. If Mal was indeed correct in believing they were still asleep all along, then it truly brings to question our perception of reality. DiCaprio is convinced throughout the entire film that he "awake," and why should we doubt him? His reality is dark and depressing with his wife having killed herself and framing it to look like he murdered her, so as to encourage him to join in a dual-suicide. He is also exiled and kept from his children, and truly haunted and tortured by the memory of his wife. Who would want that reality? And isn't life just one series of sour lemons after the next?
I like the idea that he was actually asleep and in limbo all along, if only because it was so convincing that he was awake (when ... you know, he wasn't asleep in shared dreaming.) It poses a very thoughtful, philosophical question which ultimately suggests that we don't know shit about reality. It's all perception.
******
I've also briefly discussed a fourth possibility with a friend regarding the idea that it was "all a dream" ... but that instead of "waking-up" after jumping to her death, Mal went deeper and deeper into her subconscious/limbo. And that the reason she continued to haunt him was because he kept going deeper and deeper into limbo himself, and in effect, following her, but not quite catching up. Sensing that his reality was not quite right, he could never rest easy in sleep because her image continued to haunt him. And when he finally confronted her, and his "guilt" as the film suggests, he was actually destroying his last semblance of reality and giving up (in chasing her, and in questioning his reality.) He was finally happy to feel he accomplished something good enough to give him cathartic release, the reward being his reunion with his family, even if it wasn't real. I guess this would go along with the whole "ignorance is bliss" theory.
I'm sure there are other theories, and I'd love to hear them.
That's what I loved so much about this film. It doesn't matter how crazy the interpretation sounds, because some semblance of truth could be attached to it depending on the clues that popped out at you during the film. I've seen it twice now and walked away with different opinions, and that's the true test of a great film. Being able to watch it and still feel like you're watching something new each time.
A Few Last Notes
I can't get over how amazing the visuals were. And not just the special effects (which were spectacular ... especially on an Imax screen.) But just the use of space in the film. That last scene alone was brilliant in being able to show two strains of action at the same time, pitting them against each other in a very subtle form of duality.
The acting was brilliant. I think the only actor I didn't find overly amazing was Ellen Page, and that's probably because her role deviates so little from pervious roles. I've really enjoyed watching DiCaprio and JGL grow as actors. And Marion Cottilard, my goodness ... she gave such an unnerving and haunting performance. I could not keep my eyes off of her when she was on screen (even though I wanted to look away, because let's face it, her character pops up out of nowhere sometimes and I'm almost convinced she's gonna leap out of the screen and eat my face half the time.)
And again HANS ZIMMER ... amazing original score. One day, I swear ... one day ... he will make music for my movies.