There is an inherent problem with the nature of dreams. Let me revise that. There is an inherent problem with the subjective nature of the beholder of a dream. The key lies in the detail, the moments, which naturally transcribe and proliferate in the 'real' world.
Imagine sharing the same dream. Each individual would deduce an understanding, an embracing of light, at an altered angle from the other. This is not solely an issue of volume either. If we are able to experience the same dream then we draw strength and/or fall to weakness from varying situations and circumstances (after all, we are built from vast pools of reason and moral frameworks).
This is where dreams share a DNA-like identity with cinema. Like films, they are open to criticism and analysis which amend their standing in public perception, creating fervent support and hatred amongst fans. Perhaps this is an explanation of our idolization of those who have passed. Were Marilyn and Cary truly great or have we somehow extracted something which was not there in the first place? Is the dream truly revelatory? Or is it just a part of our imagination which should remain just that, imagination?
Pure creation (and entertainment) of one sort or another.
Inception has created this sort of divide. What is Christopher Nolan attempting to acheive? A pure distillation of 'Entertainment' or something approaching 'Art'?
My view; The use of either would be misnomers. On hindsight this is a straightforward conclusion to arrive at. The film has already shown it can perform at the box office and the general premise has prompted frantic discussion on internet forums.
A caveat before I summarise what is essentially an overwhelmingly positive view on the film: Describing the plot is a thankful and pointless task for two reasons;
1) An aspect of the satisfaction gleaned is feeling your way through the plot mechanics as a first-time experience. I'm not about to dilute that particular nectar...
2) The great red herring of the film is the 'MacGuffin' or the completion of the job for reward. Cobb's (Leonardo Di Caprio) relationship with his wife, Mal (Marion Cotillard), is the central arch without which the film would be bereft of emotional heft. The plot very cleverly positions the film as many things, essentially as a thinking-man's actioner. It's various complexities masking what is ultimately a personal transition from instability to understanding.
What makes the film great (although it is far too early and patronising to call it a masterpiece) is that it is essentially an existentialist tale progressing into emotional reality or perceived stability depending on how you view the Schrodinger's Cat ending...
Concommitant regret, love and commitment are all emotive themes enveloped in this meshwork of ideas and visuals providing a delectable treat for those willing to complete the homework...
Grade: A (9/10)
I'm preparing to write a review of Inception also. I see that the film has stimulated in you a variety of deep contemplations that range from issues of dreams, subjectivity, cinema, imagination, creation, etc. to sheer intellectual delight in navigating the plot.
ReplyDeleteThe red herring aspect you mention is certainly central, the question of motive and reward as it relates to the various characters, in particular the protagonist's complex motives, which boil down I think to re-uniting with his children in the real world and exonerating himself from charges of murder through the corrupt abuse of the justice system by the billionaire class. Does he recognise the need, or even believe in the possibility of healing his relationship with his wife, which was broken through the drama of his dreaming adventures with her? As is so common, especially for males, his way of attempting to deal with his subconscious problems is through elaborate avoidance mechanisms, which manifest in his unwillingness to create the settings for his dream adventures - representing the paralysis of his creative ideation.
I believe that if I follow some of these threads that you refer to I may be able to discover something important to me (and some others) concerning this central aspect of the film - shared dreams, relationships, and where this process of binary relationships based on shared dreams can lead, and how one might escape from the closed loop of a powerful pair bond involving mind, emotions, and creative imagination.
Merlin Saint Germain
One point Merlin, which i'd bring up is the positioning of the male psyche in the overall human labyrinth. I find it particularly fascinating here. The fact that he spends all this time with the woman he loves was clearly not enough. He needed more. They had this ability for 'pure creation' but still had the urgent need to implant an idea into his wife's mind. The fact that he knew it wasnt real tapped away at his mind, whereas his wife had forgotten her past. This is so typical of male mythology throughout history and literature. its fascinating almost because its become a cliche within itself...
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