Inception of Christopher Nolan
Synopsis
Sun Cobb is a thief, a thief of dreams, a that enters the heads of people and passing of secrets and dreams in dream research hidden information. At the service of industrial espionage, and his team this time is not trying to steal, but to engage in the mind of a young scion of a controversial idea, but the adventure continues and is more complicated, more Cobb understands him to be the real protagonist dreams in which plunges wildly.
rare example of a blockbuster author, film business financed with millions of dollars, played by star, sold in almost every country in the world, but thought by its author with an almost absolute freedom - what no longer possible in Hollywood, unless you're not the director of the last two Batman - Inception is a work that delves deep into a dream brings another dream another dream, and yet, by the recurrence a movement that does not play a copy, but it varies and increases the space and time in infinite measure. The movement of the film is double, because on the one hand shuns reality to immerse themselves in the dream dimension, but the other is immersed more and more to the crux of the narrative, trying to resolve the trauma that alters the very reality from which he fled.
In this sense, Inception is a classic movie that plays perfectly with the basic elements of Hollywood storytelling, with the effects of condensation and displacement, with a structure of poems (the return of memories / dreams of Cobb), substitutions ( the presence of his wife Mal, that in every dream turns into an enemy different) and broken (still Mal, which appears as a reflection of the unconscious and forced to move from level to level) representing the source of story. In
Inception is a dream - better, more dreams - and dreams, the symbols, are the film itself, its obsessive quest for a primal trauma. A trauma that led to any form of story and that turns out to be the emotional trauma of separation, the inability to unite with each other (hence the inevitable creation of infinite worlds are always different from the dreams of each individual) and the failure of self-realization in the pair, then in the family, that American cinema classic is the only form of reality as possible.
The bond between a father and a son (who himself lives on Cobb If, with a father who abandoned their offspring) is what the heroes of the film trying to change, so entering into a sort of resounding primal scene of American cinema. With Inception is as if we ventured for the first time in place of the unspeakable, what you should not show: a trip is built step by draw, dream after dream, in which Christopher Nolan get to talk about same core of classic cinema. It is a journey that every movement penetrates the appearance of speech. Every dream is a blow to the film surface, the structure, represented with an extraordinary process of visualization as a physical place exists: or the personal imagery of the protagonist, the island overflowing with buildings that collapsed with the transition from a dream to the next, and fragile encyclopedic accumulation of memories, desires, hopes, obsessions.
staging city that doubled up and came back to bite them, imaginary cities that collapse to leave the skeletons of the structures, Inception gives visual form to the dreams that architecture is one of the key issues of our society: the space is the real star the film, while the time an object is used and its context. Here the space is the projection of desires and extent of the failures, it is imagination above the sense of measure, that doubles infinity, mirror against a mirror, the figure of a man placed in an urban environment, by moving out equal and opposite to that, however, leads to a single port and is recognized and recognizable: the house from time American cinema. Because even
Inception finds its culmination so far is the heart of every classic film in the symbolic dimension that is family and that place is just as symbolic of the house. Overturning a formula often used to define the melodramas, one could say that here Heart Is Home Is Where The "is where the heart is home." As already Shutter Island of Scorsese, with whom Inception has several points in common, the house indicates the end of a wandering mind in particular. The difference is that Scorsese choose an imaginary movie buff ( Her to Heaven by John M. Stahl), while Nolan re-contextualizes the iconography of the American house.
The DiCaprio of Inception , such as goat Shutter Island, in the final of fi lm
enters a house where lies the origin of every dream, so each story. The house in which it waits for the woman he loved and lost stands alone and untouched in a cluster of crumbling skyscrapers, the strangeness construction of the place in which it appears it is clear, his appearance refers to the known and familiar form of a primitive place. Building the film as a continuous cleavage of narrative units, space and time, Chinese boxes that contain each other and slip over one another, Nolan brings me to the heart of the film, the American family home inside it contains another box (safe), which in turn contains the object-totem of the film, the spin, the objective correlative of a world constructed from continuous centrifugal forces, but contained in a single element which no coincidence that it moves only on itself, without progress in space.
The top of
Inception , which leaves doubt as to the real end of the journey, is the sign of the contradictions of American cinema: the desire to match everything to resolve any repetition, and at the same time the fatal necessity of reviving the 'idea of \u200b\u200basymmetry and therefore the possibility of building other countless ways, countless times and endless stories. Inseparable in its smallness, the film focuses in part, as well as the blue box Mullholland Drive embodies Film Lynch. But what the world was a double outlet, the suction in the darkness of death and rebirth that gave rise to a potentially infinite film, able to build any world from its own elements, there is a movement that enshrines the perpetuation of the cinema as the construction of dreams, but also the fragility and the failure of all its construction: the usual places for each port are always there, always symbols of the usual emotional trauma, with the waves that fold in on themselves and mimic the forward movement of the film, slowed by a push in the opposite direction. When we dream, after all, we are convinced that they can not get out of the dream.
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