There is one day left until
Inception (2010) reaches theaters. Usually the summer is when production companies shelf out their known commodities to audiences. Reboots, remakes, and other brand names saturate theaters. Most filmgoers leave the summer season with a saccharine induced headache of generalized proportions. So it is surprising that a mind warp feature like
Inception would have the stamina to make it through all the shallow fare. Not only is it a new commodity, it is also almost indefinable in terms of plot mechanics. It is the black sheep of the summer season and I have utmost respect for Christopher Nolan for releasing what seems to be a cerebral story that mixes genres and ideas at a time when not many chances are taken. I will have my final verdict on
Inception after its opening weekend, but in the mean time I thought I would do a small retrospective on some of Nolan’s work.
1.
Memento (2000). Nolan is the kind of director who enjoys playing with time and structure. This film has the pleasure of moving the opposite direction most viewers are used to. It starts at the ending and moves its way to the begginning. It’s not about how it ends; it’s about how we got there.
Memento addresses ideas about illusion and memory in a jigsaw puzzle like structure. Everything is from the perspective of a fractured mind, an unreliable narrator, whose perspective of reality is manufactured from Polaroids and written clues. In the end though I think this bittersweet line summarizes the film best, “We all lie to ourselves to be happy.
2.
The Prestige (2006). Now, I haven’t checked out
The Following (1998), maybe that would be in second place if I had and
Insomnia (2002) is solid, but personally it is one of Nolan’s weakest efforts. So,
The Prestige will just have to be my second choice. Now this is another one where time and perception is deconstructed. It moves in a non-linear fashion, but is carried by a very linear sense of obsession, revenge and mystery. The plot structure is the key here; it is built around the process of an illusionary trick: the pledge, the trick and the prestige. Nevertheless, the reason I placed
The Prestige in second place is firmly based on the ambiguity of the ending. What at first seems like an obvious reveal is actually hidden with a haunting meaning.
3.
The Dark Knight (2008) and
Batman Begins (2005). I placed both of these in the same category because I think they are connected by the chronology presented in them, but also because they are an extension of themselves. Begins is the set up for Dark Knight and the context presented in both makes each one a better film. Now, of course, Dark Knight is far more superior when it's compared to Begins, but that is mostly because of the characters of Joker and Harvey Dent. Without these two characters, it would not be the pinnacle of superhero entertainment many make it out to be. Actually I would go so far as to say that
Batman Begins is Batman’s story and
The Dark Knight belongs to Joker and Harvey Dent. However, both films are prime examples of the comic book genre done right.
1. Memento (2000). Nolan is the kind of director who enjoys playing with time and structure. This film has the pleasure of moving the opposite direction most viewers are used to. It starts at the ending and moves its way to the begginning. It’s not about how it ends; it’s about how we got there. Memento addresses ideas about illusion and memory in a jigsaw puzzle like structure. Everything is from the perspective of a fractured mind, an unreliable narrator, whose perspective of reality is manufactured from Polaroids and written clues. In the end though I think this bittersweet line summarizes the film best, “We all lie to ourselves to be happy.
2. The Prestige (2006). Now, I haven’t checked out The Following (1998), maybe that would be in second place if I had and Insomnia (2002) is solid, but personally it is one of Nolan’s weakest efforts. So, The Prestige will just have to be my second choice. Now this is another one where time and perception is deconstructed. It moves in a non-linear fashion, but is carried by a very linear sense of obsession, revenge and mystery. The plot structure is the key here; it is built around the process of an illusionary trick: the pledge, the trick and the prestige. Nevertheless, the reason I placed The Prestige in second place is firmly based on the ambiguity of the ending. What at first seems like an obvious reveal is actually hidden with a haunting meaning. 
3. The Dark Knight (2008) and Batman Begins (2005). I placed both of these in the same category because I think they are connected by the chronology presented in them, but also because they are an extension of themselves. Begins is the set up for Dark Knight and the context presented in both makes each one a better film. Now, of course, Dark Knight is far more superior when it's compared to Begins, but that is mostly because of the characters of Joker and Harvey Dent. Without these two characters, it would not be the pinnacle of superhero entertainment many make it out to be. Actually I would go so far as to say that Batman Begins is Batman’s story and The Dark Knight belongs to Joker and Harvey Dent. However, both films are prime examples of the comic book genre done right. 
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