Dom Cobb is a man filled with guilt, regret, and forced to confront the ghosts of his past. Cobb retreats into his memories and fantasies to escape the guilt that pervades him. He has alienated himself from the people in his life that he loves - all that's left are the memories. In Sergio Leone's mobster epic Once Upon a Time in America, David "Noodles" Aaronson has the same arc. After getting his lifelong friends killed and driving a wedge between himself and the only woman he's ever loved, he passes out in an opium den and drifts off into a drug-induced fever dream that alleviates him of any wrongdoing. The key distinction between Noodles and Cobb is subtlety. Everything revealed about the Dom Cobb character is done so thorough exposition. There's a scene in Inception where Cobb relives moments shared with his late wife and small children. We are told early on that architects are not to design dreams from memories - to only use small details - never the whole area. "They're memories," remarks Ariadne. That much is obvious. "You said never to use memories." That, too. Nolan's superiority complex seems to bog down his movies, especially this one. With the incessant exposition, you'd expect the plot to be very intricate and esoteric - but to any 10-year-old exultant to be watching a PG:13 movie, it's quite simple. Thematically, surely there must be some depth. Well, no. The only character that doesn't exist merely as a device to further the plot and give out information is Cobb. Cobb is the only character with any semblance of depth. Cobb is the only character Nolan makes any attempt to flesh out. Cobb is the only character with any characteristics. And yet there is no subtlety. Through heavy-handed, expository dialogue, we learn all there is to possibly get out of the character. Admittedly impressive practical effects can only go so far. If you want an entertaining popcorn flick to pass time, look no further. But if you're in the mood for a challenging film that will stimulate your brain and linger on your mind until you've dissected every frame, Inception isn't for you.
Inception isn't complex. Not in its plot and certainly not its themes, but one moment in the film has led to confusion amongst viewers. That moment, of course, happens in the last two seconds. Because the film is sostagnant, the first time that I watched Inception, I simply didn't care whether or not the ending was a dream. I thought, 'Well, the kids are wearing the same clothes and appear to be about the same age - it must be a dream.' According to Nolan, that is not the case. Regardless, though, what actually are the implications of the scene taking place in reality? Well, since the kids haven't aged much, what little of an impact was left dwindles even further. He's been gone for what - two months? Cobb's relationship with Mal has some interesting ideas, but his dynamic with his children extends to 'he loves his children very much.' That's it. He loves his children and can finally see them. Oh, but I'm not getting it - Nolan is Cobb and his alienation from his children is reflecting on the director's devotion to his work and subsequent time away from the home - during a crucial period of development where they need him the most. But all of that is incredibly obvious from just watching the movie. It doesn't take years of marinating for that conclusion to be drawn.
Restraint in a director is commendable. That's why Denis Villeneuve's Enemy and the recent I'm Thinking of Ending Things are so effective. What could easily be these grand reveals that call attention to themselves are instead left symbolic and ambiguous. They reward the viewer for thinking about the movie. Inception has not one, but two twists: one, Cobb is responsible for his wife's death; two, Cobb performed inception on her, ultimately leading to said death. Inception isn't a film that rewards the viewer for thinking about it for a prolonged period of time; you enjoy it while it lasts, but it isn't substantive enough to remain in your mind for five minutes before you realize there's nothing here that hasn't been done before much better.
Inception isn't complex. Not in its plot and certainly not its themes, but one moment in the film has led to confusion amongst viewers. That moment, of course, happens in the last two seconds. Because the film is sostagnant, the first time that I watched Inception, I simply didn't care whether or not the ending was a dream. I thought, 'Well, the kids are wearing the same clothes and appear to be about the same age - it must be a dream.' According to Nolan, that is not the case. Regardless, though, what actually are the implications of the scene taking place in reality? Well, since the kids haven't aged much, what little of an impact was left dwindles even further. He's been gone for what - two months? Cobb's relationship with Mal has some interesting ideas, but his dynamic with his children extends to 'he loves his children very much.' That's it. He loves his children and can finally see them. Oh, but I'm not getting it - Nolan is Cobb and his alienation from his children is reflecting on the director's devotion to his work and subsequent time away from the home - during a crucial period of development where they need him the most. But all of that is incredibly obvious from just watching the movie. It doesn't take years of marinating for that conclusion to be drawn.
Restraint in a director is commendable. That's why Denis Villeneuve's Enemy and the recent I'm Thinking of Ending Things are so effective. What could easily be these grand reveals that call attention to themselves are instead left symbolic and ambiguous. They reward the viewer for thinking about the movie. Inception has not one, but two twists: one, Cobb is responsible for his wife's death; two, Cobb performed inception on her, ultimately leading to said death. Inception isn't a film that rewards the viewer for thinking about it for a prolonged period of time; you enjoy it while it lasts, but it isn't substantive enough to remain in your mind for five minutes before you realize there's nothing here that hasn't been done before much better.