I have long considered Hans Zimmer an underutilized soundtrack composer, because, until now, his talent has not been given full rein to move the viewing audience to the emotional depths of which he is capable.
Inception unleashes that ability, in much the way the character of Dom seeks a supremely talented "dream architect." Nowhere is this more evident than when Zimmer's score plays during the closing few sequences, with no dialogue. These minutes are, in my mind, a demonstration of the ideal application of music in film, and I loudly applaud the filmmakers for this decision to let emotion, riding on the powerful waves of music, finish the story.
After all, many of us are not stupid, and we know what is happening without constant verbal exposition. Having seen Inception several times now, I still sob uncontrollably during this extremely powerful ending. That speaks volumes when one knows it is far more common for me to be sneeringly sarcastic by the end of a movie.
As delightful as this is, however, it is, I am pleased to say, only a portion of what makes this movie work for a rather wide audience.
First and foremost, the script tells a story that gives viewers of different experiences and age groups different things to think about. On the surface, it has its fair share of action and shoot-em-up scenes. But ultimately, for more mature viewers, the film has a lot to say about interpersonal interaction, and the ultimate place of relationship in reality, as opposed to the virtual kind (whether in dream states or on Facebook and other social media).
In this sense, Christopher Nolan has clearly matured as a writer and director.
Then there is the acting. Leonardo DiCaprio delivers an excellent performance. Like Nolan, DiCaprio has matured, and as he has, he became an authentic actor, not just a "star."
The genius of this film with regard to the acting, however, is the sparse use of big names, and the copious addition of incredibly talented character actors -- those people whose names may not be household words, but who pack an unrivaled punch of talent.
After all, shouldn't a truly good actor actually cause us to "know" different characters in different films, and not their individual persona over and over again? This is Inception's serious fodder, and why so many of the film's actors are multiple Oscar nominees, even if not common names in People Magazine.
There is also the intelligent use of special effects. Unlike so many modern films, the CG departments here didn't waste their talents with clichéd scenes of actors in slow motion martial arts moves, instead opting for judicious enhancement of the visual texture of the film. It is appropriate special effects, not merely CG for the sake of CG.
The appeal of classic films, for so many thinking film connoisseurs, is the way a well-executed script will take root in your mind and haul you along into the magnificent journey of a unique tale.
With the advent of modern technology pandering to nanosecond attention spans, too many filmmakers have lost the ability (or willingness) to relate a good story visually, relying instead on mere "eye candy". While special effects can wow an audience, just because we can do something doesn't mean we should. Inception gets this idea (this and the prior reference intended, which is understood once the movie is seen) and applies it exceedingly well.
I will admit I almost gave up on this movie half way through the first viewing. By the end I was beyond relieved I had not. Somewhere along the way this movie grabbed hold and wouldn't let me go. It turned out to be one of those films that one thinks about for hours after watching, and, like a good classic, has me returning again and again to catch the subtle ways in which the story unfolds scene to scene -- dialogue and visuals which may not be noticed until all is revealed. I've now watched it three times in less than a month. I've not watched even Casablanca that frequently.
So if Inception seems silly or trite upon your first viewing, I implore you to hang in there. If you value good stories and thought-provoking, suspenseful tales, I predict you'll change your mind before the end. The second viewing is even better, now that you know what is going on early in the film.
In fact, unlike many lesser films, I have only one serious quarrel with this movie, and it is relatively minor. It occurs early on, when DiCaprio's character says to Ellen Page's character, in the middle of a sentence, that "they say we only use a small percentage of our brains..." Science has thoroughly debunked this particular bit of nonsense, and I sincerely wish the spread of this myth would stop. Given the terribly bad opinion I have held of most films made since about the early 60's, this is such a minor error that I almost forgive myth-spreading.
This film is a minimum TWO-TIME must see, as it offers some new interesting morsel of thought each time around. It is what good cinema should be -- a fascinating tale well told in every way.
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