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|Genre||Action, Spielfilm, Science Fiction|
|Beitragsverfasser||Hardy, Tom, Gordon-Levitt, Joseph, Caine, Michael, Cotillard, Marion, DiCaprio, Leonardo, Nolan, Christopher, Berenger, Tom, Page, Ellen, Murphy, Cillian, Watanabe, Ken Mehr anzeigen|
|Laufzeit||2 Stunden und 22 Minuten|
Wird oft zusammen gekauft
Von der Marke
Cobb ist der Kopf einer technologisch bestens ausgerüsteten Bande von Dieben, die einen Weg gefunden hat, Träume in den Köpfen von Menschen zu platzieren und zu steuern, indem man sich selbst in ihnen manifestiert. Auf diesem Weg soll der aufstrebende Manager Fischer dazu bewegt werden, seine künftige Firma aufzusplitten. Cobb arbeitet nicht ganz eigennützig, denn er wird von dem mysteriösen Saito erpresst. Als Cobbs Frau ihren Mann auffordert, die Probleme in der realen Welt hinter sich zu lassen und mit ihr in einem Traum zu verweilen, muss er eine Entscheidung treffen.
Extraktions-Modus - Erfahren Sie, wie Christpher Nolan die Schlüsselmomente des Films erschaffen hat; Das japansische Schloss: der Traum stürzt ein - Erschaffung und Zerstörung der Schloss-Kulisse; Eine Einführung in paradoxe Architektur - Erschaffen der Treppen ins Nichts; Der Güterzug - Gestaltung eines stahlverkleideten Güterzuges;
- Seitenverhältnis : 16:9 - 2.40:1
- Alterseinstufung : Freigegeben ab 12 Jahren
- Produktabmessungen : 13,6 x 1,7 x 19,4 cm; 63 Gramm
- Regisseur : Nolan, Christopher
- Medienformat : Breitbild
- Laufzeit : 2 Stunden und 22 Minuten
- Erscheinungstermin : 3. Dezember 2010
- Darsteller : DiCaprio, Leonardo, Watanabe, Ken, Gordon-Levitt, Joseph, Hardy, Tom, Berenger, Tom
- Sprache, : Deutsch (Dolby Digital 5.1), Englisch (Dolby Digital 5.1)
- Studio : Warner Bros (Universal Pictures Germany GmbH)
- ASIN : B004HK3XHG
- Herkunftsland : Deutschland
- Anzahl Disks : 1
- Amazon Bestseller-Rang: Nr. 5,655 in DVD & Blu-ray (Siehe Top 100 in DVD & Blu-ray)
Rezension aus Deutschland vom 2. Dezember 2017
Rezensionen mit Bildern
Spitzenbewertungen aus Deutschland
Derzeit tritt ein Problem beim Filtern der Rezensionen auf. Bitte versuche es später erneut.
Die Handlung des Films ist hochkomplex. Jede Minute Unaufmerksamkeit (speziell gegen Ende) kann bedeuten, dass man komplett den Überblick verliert. Es geht - grob skizziert - um den Kriminellen Cobb, der sich darauf spezialisiert hat, in das Unterbewusstsein von Geschäftsleuten einzudringen und ihnen wertvolle Informationen zu stehlen. Dies nennt man "Extraction". Dann erhält Cobb einen neuen Auftrag, diesmal soll er keinen Gedanken extrahieren, sondern einen einfügen. Er soll den Millionenerben Fischer dazu bringen, die Firma seines Vaters aufzuteilen. Dazu stellt er ein Team zusammen und macht sich während eines Fluges daran, in die Psyche von Fischer einzudringen. Mehrere Traumebenen werden aufgebaut, also ein Traum im Traum. In der tiefsten Traumebene soll der Gedanke eingepflanzt werden, so tief, dass der Erbe nachher nicht mehr seinen Ursprung wird rekonstruieren können. Doch je weiter sich das Team in Fischers Unterbewusstsein begibt, desto mehr erfahren wir auch über Cobb und dessen ganze Vergangenheit.
Inception geht tief in die menschliche Psyche. Es tun sich geistige Abgründe auf und die Riege der Schauspieler versteht es hervorragend, dies umzusetzen. Leonardo DiCaprio spielt den innerlich gebrochenen Cobb so hervorragend, als wäre ihm die Rolle auf den Leib geschnitten. Ist sie vielleicht sogar. Auch die anderen Schauspieler machen ihre Sache bestens, hervorzuheben wäre hier noch Ellen Page, die als die junge Traum-Architektin Adriane brilliert.
Christopher Nolan hat mit Inception entgültig Kinogeschichte geschrieben, er hat einen Film geschaffen, der genreübergreifend seinesgleichen sucht. Es ist die ständige Überraschung, das immerwährende Gefühl des Zweifels (Was ist Traum und was nicht?) und vor allem eine der ersten glaubhaften Begründungen, die physikalischen Gesetze auf den Kopf stellen zu können. Inception ist gespickt mit Geniestreichen, der Kreisel, die unendliche Treppe, Paris im 180° Winkel. Ein Wow-Effekt nach dem Anderen und dadurch, dass die Handlung kleine Lücken hat, die der Zuschauer selbst ausfüllen muss, lassen sich die verschiedensten Interpretationen anfertigen. Entsprechende Diskussionen sind im Internet schon heftig im Gange.
Der visuelle Hammer sind zweifellos die Spezialeffekte, die nur dann eingesetzt werden, wenn sie auch wirklich nötig sind, aber einen dann geradezu umhauen. Nolan hat bewusst möglichst wenig mit CGI arbeiten wollen und das macht sich bezahlt gemacht. Der Kampf in der Schwerelosigkeit z.B. wurde in einem riesigen Hamsterrad gedreht und hat das Zeug dazu, eine der kultigsten Filmszenen aller Zeiten zu werden.
Noch ein Wort zu Negativrezensionen: Ich lehne es überhaupt nicht grundsätzlich ab, wenn andere Meinungen hier dargelegt werden, solange sie gut begründet und nicht halbherzig hingeschmiert sind. Ein Text nach dem Stil "super film, bester überhaupt, unbedingt kaufen" ist daher für mich genauso wenig hilfreich wie eine ähnlich formulierte Negativrezension, genauso verhält es sich natürlich auch bei guten Argumentationen. Ein Klick auf "hilfreich", sollte nicht bedeuten, dass diese Person meine Meinung vertritt, sondern dass sie diese gut vertritt, das ist ein himmelweiter Unterschied.
Mal ganz abgesehen davon haben sich im Laufe der Zeit drei "Typen" von Menschen herauskristallisiert, die hier schlechte Bewertungen abgeben:
Die erste Gruppe hat technische Einwände gegen die Blu Ray oder die DVD, was ich gut verstehen kann, leider das Bewertungssystem etwas durcheinander wirft, aber dennoch ist es sinnvoll, mögliche Kunden auf so etwas hinzuweisen, wenn man es entdeckt hat.
Die zweite Gruppe (dies sind oft Fans von Nolans Frühwerken) halten den Film für eine große Blase, in der durch viel Geballer und Effekthascherei von der eigentlichen Leere des Films abgelenkt werden soll, was ich absolut nicht nachvollziehen, aber gut tolerieren kann.
Die dritte Gruppe, die die Mehrheit darstellt, hat - so muss man es nun einfach mal sagen - 'Inception' überhaupt nicht verstanden und dies teilweise nicht einmal versucht. Wie kann man bitteschön der Meinung sein, ein umfassendes Bild von einem Film zu haben, den man nur zur Hälfte gesehen hat? 'Inception' fordert ein sehr hohes Maß an Aufmerksamkeit und wenn man nicht gewohnt, einem Film diese Aufmerksamkeit zuteil werden zu lassen, soll man die Finger davon lassen oder von mir aus im Nachhinein sagen: "Das war mir jetzt zuviel" und es dabei belassen, aber doch nicht seine eigene mangelnde Konzetrationsfähigkeit auf die Filmemacher schieben.
Noch ein Wort zur Blu-Ray: Viele DVD-Käufer ärgern sich offensichtlich über schlechte Bild- und Tonqualität, zumindest bei der Blu-Ray ist dieses Manko nicht vorhanden. Die Erlebnis von The Dark Knight wird leider nicht erreicht, aber dennoch sind alle großartigen Bilder in sehr guter Qualität zu sehen und Hans Zimmers Soundtrack kracht auch in der Heimkinoanlage ordentlich.
Die Extras sind gut bestückt, eine Menge schön verpackter Hintergrundinformationen sind zu finden, von denen man manchmal auch ganz schön überrascht ist. Zumindest die Blu Ray kann ich empfehlen.
Und das Ende mit den Kreisel…
Das Steelbook selbst ist ein Sammlerstück und liefert eine schöne Präsentation des Films mit starker Haltbarkeit und auffälligem Design. Die zusätzlichen Special Features geben einen spannenden Einblick in die komplexe Welt der Traum-Inception und die harte Arbeit, die in die Erstellung dieses Films geflossen ist.
Dieses Produkt ist ein Muss für jeden Nolan-Fan und jeden Liebhaber von Kinokunst, der das Kinoerlebnis gerne in der eigenen Heimkinoanlage genießt. Eine klare Empfehlung.
Spitzenrezensionen aus anderen Ländern
For me, I will say this: This film has been a long time in the making. As an artist in several mediums, film included, I can relate to some simple thoughts for those wondering about the movie "Inception" itself. I met Christopher Nolan last century (weird to say) at an international film festival when "Memento" was first screened. I thought that movie was brilliantly presented and unique - as was his less successful, but still intriguing, previous venture "Following".
The movie "Inception" was something that was on Nolan's mind for quite a long time. His problem: The trouble with creative ideas, especially when involving such a semi-uncharted realm of "dreams" as your grounded subject matter, is hard for one to convey such unique, fresh ideas into a visually physical and presentable piece.
However, Nolan finally succeeded with "Inception". As technology (CGI) had increased exponentially for creative potentials such as bringing artists' dreams into something visceral and presentable, this film became more and more "do-able" for him as a project.
In this century, as the art (almost seemingly lost amongst so many writers and directors lately) seems to have turned into massively (almost mindless) "action"-packed, substance-lessness groups of movie re-makes, comic books and consumer entities turned into trite-made-flesh "movies", and the seemingly endless amount of sequels (which most should have ended a few sequels back) and, along with that, the upsurge in "prequels" (have we really started running out of originality?),I personally find it more difficult to even "want" to see a movie in the theater unless its something with possible unique potential as something fresh, new and (at some point in the past) even "unthinkable" as a premise for a movie. Afterall: 2 people seeing a movie these days is a major financial investment at $10-$12+ per ticket... and gods help you if either one of you wants something edible, even simply a $5 bottle of water! And even though I'm only in my later 30s, yes, seriously kids: things were much different - and cheaper - in the 80's and 90's as a movie-going enthusiast. I suppose that's why, when you pay less for something, if it was a "crappy movie", the let down wasn't that bad. Nowadays, if something doesn't impress you, the "investment" you put into hoping to see a movie becomes something that could backfire and "depress" you.
So I was very glad to be even moreso impressed than I was expecting when I saw "Inception". It is a fresh story which is artisticly and meticulously woven into a high-quality film which presents the idea of a world (whose time period we aren't really told, but we come to accept as either a future or a possible reality of the "near-present day" realm) where the most precious commodities that exist that we would like to think are not in another's grasp: an idea... a thought... a dream... could become something of a tangible commodity to others with an ulterior interest.
The movie presents you with the "what if" premise that some of your most gaurded, personal thoughts and ideas, buried inside your own mind which may emerge in your own dreams, could actually be visited, viewed, experienced... and stolen. It's a disturbing thought on one hand. On the other hand, it makes for something fresh and incredibly imaginative to be explored and presented in a cinematic format.
I won't go in depth and throw spoilers and such about the movie, because this is one of those rare movies that I personally wanted to know very little about beforehand... and walk into the theater (of for those of you now: to be able to rent or buy this film) knowing not much about what you are about to see.
And that's why I enjoyed it so much when I saw it in the theaters. It is a fresh concept, a movie in this time of regurgitated cinema sparkle and fodder which kept me so engaged. The ideas were new, fresh and imaginative. The premises and layers (literally) of thought involved in this piece that echoes a famous line from Edgar A. Poe's writings: "All that we see or seem, is but a dream within a dream."
From start to finish, this may not be a movie some people will be able to fully absorb and comprehend all its beauitfully creative details and uniquities, as its pace doesn't waver to do a "time-out" for the viewing audience to try and explain it all to you - and some people may find that an irritation indemic of the "I want to know everything explained to me now" generation/group of impatient "movie-goers". However, what makes "Inception" unique is that we find ourselves somehow going along for its ride, like the finality of beginning a long roller coaster ride which, once seated, you are in for many unexpected twists, turns, and thrilling experiences along the way. You find yourself accepting things momentarily as if: "that's ok... this is a dream anyway... right?" You may even find yourself falling deeper into accepting these realms with all their ideas and concepts that defy what we assume are constants - like, oh, the laws of physics, gravity and logic. But hey it's just about a dream ...right? Well hang on, because you most likely will find yourself becoming pulled into the film, catching yourself momentarily uttering, silently, "Whoa, I did not see this coming," and futher down the rabbit hole you go.
As with most of Nolan's original works of the 90's, "Inception" is, in my opinion, his shining jewel. And it should be, considering how many years upon years he kept this movie as a work-in-progress in his mind (and a journal or two). Luckily, so far his guarded thoughts weren't something easily up to be stolen while he slept. It's a rewarding experience that deserves to be taken in - because honestly, how often do you see something unique in movies and say to yourself (either during or after the end credits) "I never saw or thought of something like that before... in my life... and I just saw it on screen" ...?
It's also an experience that deserves to be watched again, because once you've seen it (like taking the red pill in "The Matrix"), there is no going back. Therefore moving forward is the only option you have. Rewatching it helps you take in more of the concepts: It is truly an amazing feat of accomplishment to bring the realm of thoughts and dreams out with ideas not oft (if ever) explored in past films that somehow work incredibly well together here. The visual beauty of the work of the cinematic art in its entirity (and all its little details). Nolan insisted continually through this movie to physically film things visually in the real-life recording moments themselves as much as humanly (and safely) possible, only ending with astoundingly artiful merging of additions and touch-ups with the usage of CGI to blend in what couldn't be physically filmed in real life... and trust me, some of the things you see make you feel a sense of accepting the unlimited possibilities that can be explored in the future of movies, stories, etc involving the subject matter of our consciousness... and our sub/unconsciousness.
And on an extra note (as a person who works in the music industry): the sound engineering was amazing and its accolades and awards were justified - exceeding (and shocking) my own expectations.
The Blu-ray 2-disc edition is what I purchased, and I found it to be rewarding enough to see how many of the visually stunning scenes were created and even how the sound engineering was accomplished! It was also shocking to see how many of the scenes were shot - including what I thought was CGI which turned out to be real... etc etc. This would be one of the few movies I own whose "extras" I found myself interested in watching entirely. I believe there is an option to "interrupt" the movie momentarily to view "how they did that scene you just watched" during the movie, but they are just as easily accessible as parts to watch on their own.
Again, this movie will inevitably beg for you to watch it again... and you don't want to be interrupting it every 10 or 15 minutes to see some behind the scenes moment DURING the movie. Maybe save that for the 3rd+ time you've seen it, if you're into that. Because hands down, this was one of those rare movies I said to myself: "Finally! Something original, creative, beautiful, imaginative and not wavering and bending over backwards to 'meet' or 'fit' into the seemingly typical Hollywood format of what Hollywood considers the 'proper format' of how a movie 'has to be' in order to make money."
Because it worked fine all on its own. I believe the Oscar awards spoke up on their own earlier this year as well.
Even if you disliked the film, it shouldn't be difficult to realize that all the elements were in place, and throughout the movie, scenes were implemented with care. When Joseph Gordon-Levitt was trapped in that second instance of the ending dream sequence, trying to get that kick in order for them to wake up in that moment...they kept the physics intact. You see, Nolan managed to bend the rules of physics without breaking them. No gravity, bombs used on an elevator to get the kick, it was truly brilliant. Think outside the box here. It's not a matter of attempting to be intelligent or being too serious/dramatic, whatever you believe the film to be. It's more-so regarding the science fiction bits and pieces placed in the film, and extending beliefs with ideas and experiments (again, without breaking reality's laws). Nothing seemed too out of place in this film, as long as we paid attention, we knew what was the dream and what was the reality. We also knew the extent of these dreams were, how far people realized they were in a dream, that current setting placed, etc..
The only bit that wasn't thoroughly explained was the device used to place everyone within someone's dream. I imagine a Matrix effect here. It's just plugging into the same database/server, through use of a wired device, heh. But that's where the Sci-Fi part comes into play again. I'll agree that the lines were quite intelligently spoken and some parts were rather dramatic, but they believe in this world, in this dream-controlling instance. They are highly indulged in it, which I find to be the best part of the film. You have your try-hard teams such as in The Matrix, all the riddles spoken, etc., when people only gave a damn about the action. You have your try-not teams like with Twilight, piss-poor dialogue, lots of frequent pausing, and a laughable showcase to actors who actually had some talent. Then you have something like Inception come along, make-believe team. Sounds cheesy from the get-go, true, but that's what they did. They tried their best to make us believe their world, and whilst some things could have been explained further, such as the device, there was still that sense of realism involved in the film, as mentioned with the zero gravity sequence, keeping science intact.
That's just how I look at the film. Most of you have your personal preferences and biased opinions, which is ultimately fine, but if you're trying to force your thoughts onto others, that's where these reviews start to get out-of-hand. I wish most would include both pros and cons with this film (and all films for that matter), but I look at the five-star ratings and the one-star ratings noticing the mass amount of bias. It's either "best film ever" or "overrated film," respectively. But what people don't realize is that...best film ever only applies to you, overrated film only applies to you in a sense. People who claim things to be overrated...it's as if you lack the ability to accept others opinions. Something becomes popular, you want to see what all the fuss is about (without a clear head, mind you, you're likely not interested going in because of the set bandwagon), and begin to nit-pick beyond belief. It's amazing yet depressing how this race reacts sometimes. Yes the film is "seemingly intelligent-sounding" to the point where the actors talk in a persuasive manner, but that's the vibe of the film. I honestly didn't see it as half-assed, I saw it as supporting the main idea more than anything. I admit some bits seemed to try too hard in explanation, but overall no one ended up being really confused.
That's another piece to divulge into. The fact that this was more of an 'everyman' film. What do I mean by that? Simple, it wasn't difficult to follow, tried to go into as much detail as possible in order to help anyone understand, from casual movie-goers to the huge fans of the sci-fi/thriller genres. But the latter tends to this film as too easy, the "trying to be intelligent" argument is immediately thrown in for attempting to appeal to everyone. It's understandable. But I mean, Shutter Island, a great psychological thriller, wasn't entirely well-received because it was more for fans of that genre, the everyman wasn't into it overall, they couldn't decipher it. I've had many debates involving that film this year, good ones discussing the plot and it's ending, but only to those that really understood Shutter Island. With Inception, I wasn't limited to my discussion on the film, for those that saw it can reflect back and better understand the movie.
If I seem too harsh on you, well then I apologize for hurting your opinion in any way, but that shouldn't happen because...at the end of the day, this is for entertainment purposes. Films, music, games, it's all entertainment, and we each have different tastes and preferences. I'm not starting a war on you, believe me that's the last thing I want to do, I really just wanted to explain the film's style and goals. Yes, I have my opinion as well and did favor the film, but I know it's far from perfect. Want an example? Fine by me. I wasn't sure what the architect's role really was at first. I thought they could have explained how that person manipulated another's dream world, but I eventually assumed that they were there to keep the person within their dream...to keep their conscious on low-priority. They tried to make the dream seem like a reality as best as possible, and I believe that the device used to put them in the same dream world also had to do with the architect. Still, would have loved a more clearer analysis shown in the film, but I suppose that, like the unclear ending, is up to us.
In regards to my title of the review. All of you screaming Prestige, Memento, etc., must know that Christopher's brother, Johnathan Nolan, was not involved in this film. Most also believe that it's because of that, that the film fell flat on it's face, but I think otherwise. I think this film showed what Chris could do without John, and the end-product turned out to be something special. Sure Memento was more engaging, The Dark Knight was highly entertaining, etc., but this film had elements that mixed well together, too, and we need to realize this before ripping it apart. One scene in particular comes to mind that blends in nicely: When DiCaprio was talking to Murphy about the dreams, I thought that was brilliant...why? Because you could see DiCaprio struggling to maintain his feelings and emotions, and the dream sequence coming to realization of his actions the moment he was slipping. It's what I like to call the human side effect, a human flaw in films to show that...even though it's a film that has many possibilities, it's goes on without showing a Superman move. You have films such as Accepted where Long is everything, and I really disliked the film for that. He's a rock star, a motivational speaker, deceiver, etc.. He barely had any bad moment, which we all know is impossible in the real world, heh.
All in all, I just wanted to get a few responses out because...I'm seeing the same exact arguments being re-worded with each extreme-rated review. I'd rather look at films and judge their core. Some films focus more on the action whilst the acting and story are sub-par (which I felt Matrix was). Some films spend more time on the special effects, with everything else seeming tacked on (Avatar, to me, fits this bill). Then there are those that keep the story as it's central focus, though the acting simply doesn't live up to it's standards. To me, this is a more well-rounded film, again the plot is the main idea, with the actors being the supporting detail, the score and special effects being the minor details. The little touches were carefully put in, which I commend Nolan for.
Ken Watanabe plays Mr. Saito. He's heard about extraction and rumours about conception. He's convinced that he will be financially ruined by his rival, Mr. Fischer. Now he's heard rumors about Cobb's skill but before he asks Cobb he wants to make sure that he's talking to the right mind. So he arranges an audition for Cobb's crew under tough conditions with himself as the target. Cobb extracts the information but he realizes that Saito has known all along about the job from start and asks why? Saito was never interested in the extraction but the level of Cobb's skill. While Cobb extracted the information, Saito wasn't impressed with the level of skill that Cobb showed. His opinion of Cobb quickly rises when he realizes that he's still dreaming. Cobb placed him in a dream inside a dream. In the following scene Saito makes an offer to Cobb of financial reward and a safe return to America if he can succeed in planting an idea in his rival's mind. Money is no problem with Saito. So Cobb finds a top-notch crew who will work for him and his partner, Arthur. DiCaprio clearly dominates the first crew but when Saito tells him to put together a better team he becomes part of the team. Michael Caine puts in a strong appareanance as Cobb's father-in-law who finds him another architect in dream-sharing, Ariadne played by Ellen Page. Then it's onto Africa for an interview with an old friend, Eames played by Tom Hardy, who's a skillful thief and forger and introduces Cobb to Yusuf, the Chemist played by Dileep Rao. Fischer, played by Cillian Murphy, puts in another good performance as Saito's rival. What's really interesting are all the contributions everybody makes towards the development of the story. It is a well written story and well performed one. You'll also appreciate the quick pace.
While the dream starts on the jet. The levels of the dream can always be identified. The first level of the dream can always be identified by the rain in a city downtown. The primary development is the appearance of projections from Fischer's mind into dream who will defend him against any attempt at extraction. On this level Saito is shot and dying but on the lower levels it will take longer for him to die. Eames attempts to kill him and end the dream but the sedative taken demands their return to consciousness in a particular fashion. If they die they are lost in a sub-consciousness of the dreamer. So they must go onto the next level of the dream inside a van that Yusuf is driving. The second level of the dream is found in an expensive hotel where Cobb plays a figure on this level known as Mr. Charles and poses as one of the projections sent to guard Fischer. Mr. Charles gains Fischer's trust and convinces him that a corporate figure in his father's company is betraying him and the only way to learn the truth is entering a third level of the dream. The third level takes place in winter and the mountains where Fischer fights to learn the truth and the team plants an idea in him.In the meantime Saito dies during the assault. The scenes in the sub-conscicous take place in beautiful weather on the seaside. The final beach scene leads you to an earlier scene from the start of the film: an old man asks Cobb what he wants. The old man is Saito who was killed and has been lost for years. Cobb now remembers the audition for Saito, the inception and his confrontation with Mal. He urges Saito, now an old man filled with his regrets and guilt to come back with him and be young again. Well, the next scene tells you what happen he finds himself waking aboard the jet with Fischer, Saito and his crew. Saito places a call to set things in motion which will clear the way for Cobb's return home.
I've seen this film on numerous occasions over the past few years. It just keeps getting better. It only proves the importance of good writing and acting to one another as well as editing and directing. Suspense simply is not a factor. Yet the story constantly grips you. You simply don't realize the length of the film by its quick pace of the story.
To give a synopsis in the simplest terms possible, Dom Cobb (Leonardo DiCaprio) is an extractor, a thief who steals secrets from people's minds while they're dreaming. Being the most skilled extractor, he's hired by a billionaire named Saito (Ken Watanabe) to try a different approach; inception. Saito wants Dom and his team not to steal an idea, but to plant one in the mind of Robert Fischer (Cillian Murphy). While Dom and his team are skeptical, Saito gives Dom an offer he can't refuse.
If there were any doubts about Nolan's brilliance as a screenwriter, this film should silence those doubts. Few screenplays are this complex, this exciting, this original, and this accessible. Nolan is a master architect of storytelling and not a scene or line of dialogue is wasted with everything absolutely essential to telling his story. While certain science-fiction elements may be recycled from other films and Cobb's relationship with his dead wife Mal (Cotillard) is similar to DiCaprio's other 2010 role in Shutter Island, it's one of the most stunningly original films of 2010. While it does spend an ample amount of time explaining the concept of both extraction and inception, once we enter Fischer's dream-world just about an hour in, the film becomes a heist movie unlikely any I've seen before.
Not that anyone will find this to be unique news, but Nolan is a director of great vision who has made a film that is unlike anything I've seen before. Slow-motion is nothing new, but Nolan uses it frequently for Inception and in the most elegant ways. Nolan and his collaborators, specifically cinematographer Wally Pfister, production designer Guy Hendrix Dyas, film editor Lee Smith, and the various art directors, set designers, and special effects experts involved have crafted this film perfectly. I'm not saying it's a perfect film (only time will tell), but Nolan and co. have achieved perfection with the overall look of the film. Look at each dream level as the characters pass through it; the rainy street, the beautifully-designed hotel, and the snow-covered fortress. The film was budgeted at $150 million and no expense was spared to put the vision in Nolan's head on-screen. Even the special-effects are mind-blowing, unique, and beautiful and the score by Hans Zimmer is marvelous; emotional, ominous, and highly memorable. I've always respected Nolan as a director, but there was one scene in this film that really convinced me what a visionary he is. The gravity-defying fight sequence between Arthur (Gordon-Levitt) and some dream henchmen is one of the great sequences of 2010, magnificently filmed and eloquently choreographed. It's a sequence that would make Stanley Kubrick proud and it does recall Kubrick in sheer elegance and scope.
The star-studded cast also includes Ellen Page (as architect Ariadne), Tom Hardy (as identity forger Eames), Michael Caine (as Cobb's father-in-law), Dileep Rao (as Yusuf, a chemist), and the late Pete Postlethwaite (as Maurice Fischer, Robert's late father). Despite Inception falling more into the science-fiction/action genre, Nolan has said that he wanted the character's emotions to drive the film. Nolan's film may be a $150 million action extravaganza, but the emotional depth he sought was achieved through the use of a marvelous cast. The dynamic between DiCaprio and Cotillard has it's similarities to Shutter Island, but it's the driving force of the film and it works. Cotillard does a magnificent job portraying a character that exists entirely in Cobb's subconscious and DiCaprio shows that he's one of the few actors that can express emotion through the use of subtle facial features so effectively. Since Cobb spends significant time in the film experiencing a certain emotion that he's not expressing out-loud, it's up to DiCaprio to convey that emotion to both the characters around him and the audience. DiCaprio is an actor that some people don't take to very easily, but he's one of the most acclaimed living actors for a reason. Gordon-Levitt plays Arthur totally straight, but is charming none-the-less. Murphy finally gets a significant amount of screen-time in a Nolan film and shows the range that must attract Nolan to squeeze him into a film whenever he gets the chance. Finally, Nolan makes a star out of the immensely talented Tom Hardy, an actor of tremendous range who elevated a small film called Bronson into something highly memorable. Hardy plays Eames, the identity forger of Cobb's team, with smarmy, humorous wit that makes him one of the film's most memorable characters. Nolan obviously recognized this as he promptly cast Hardy in his next Batman film.
The scope and magnitude of this project, whether you love it or hate it, is something to marvel over. What other director has or could make a film this complicated with intense action sequences that will excite even the most unmotivated viewer? Inception is an incredible film that only grows richer with more viewings. While it took three viewings for me to fully appreciate and come to terms with this; it's one of the best films of 2010. Intellectually-stimulating entertainment with one hell of an ending, that people will be debating and discussing for years. While a film that becomes this acclaimed and this popular so quickly will attract nay-sayers out in droves (which is fine as some people truly do not like the film), few can argue what an innovative, brilliant piece of filmmaking this is.