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)
