Comments on: Contra-Inception http://cinemanche.com/2010/07/26/contra-inception/ Mon, 17 Oct 2011 11:59:00 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: Steve http://cinemanche.com/2010/07/26/contra-inception/comment-page-1/#comment-115 Steve Tue, 27 Jul 2010 13:03:19 +0000 http://cinemanche.com/?p=591#comment-115 It seemed to me that, for whatever justification, the whole team were prepared to do something really, really bad, really, really easily. There was no pause to question it. I think the most impressive plot twist is the way Nolan has you rooting for the bad guys all the way through, and even after it ends, you don't realise it. I understand that the spectacle of the idea is the whole point, but the idea is also flawed. Time moves faster in your subconscious mind - I get that - but regardless of the level of dream in which you're operating, it's still the same subconscious, so while the time differential between reality and level 1 is acceptable, there's nothing in that logic that explains the time difference between level 1 and level 2. Other than it makes for a tense, original action finale of course... It seemed to me that, for whatever justification, the whole team were prepared to do something really, really bad, really, really easily. There was no pause to question it. I think the most impressive plot twist is the way Nolan has you rooting for the bad guys all the way through, and even after it ends, you don’t realise it.

I understand that the spectacle of the idea is the whole point, but the idea is also flawed. Time moves faster in your subconscious mind – I get that – but regardless of the level of dream in which you’re operating, it’s still the same subconscious, so while the time differential between reality and level 1 is acceptable, there’s nothing in that logic that explains the time difference between level 1 and level 2. Other than it makes for a tense, original action finale of course…

]]> By: Ruth http://cinemanche.com/2010/07/26/contra-inception/comment-page-1/#comment-114 Ruth Tue, 27 Jul 2010 12:10:19 +0000 http://cinemanche.com/?p=591#comment-114 I think the 'why' isn't just about money. Isn't it also the thrill of it...can they manage to plant an idea (Cobb is the only one who knows he can do it, otherwise it's an unknown)? Can they really go 3 layers deep? I think Michael Caine gives up Ariadne because he wants Cobb to get his kids back (I wasn't sure of their r'ship either...must be family somehow) and knows he'll need the best. What didn't make sense to me was why did Ariadne craft a ridiculous snow scene for the final level of dream? And then why couldn't she shift everything, when they were running out of time, to get Fischer to the safe quicker? I think the ‘why’ isn’t just about money. Isn’t it also the thrill of it…can they manage to plant an idea (Cobb is the only one who knows he can do it, otherwise it’s an unknown)? Can they really go 3 layers deep?
I think Michael Caine gives up Ariadne because he wants Cobb to get his kids back (I wasn’t sure of their r’ship either…must be family somehow) and knows he’ll need the best.

What didn’t make sense to me was why did Ariadne craft a ridiculous snow scene for the final level of dream? And then why couldn’t she shift everything, when they were running out of time, to get Fischer to the safe quicker?

]]> By: Steve http://cinemanche.com/2010/07/26/contra-inception/comment-page-1/#comment-113 Steve Mon, 26 Jul 2010 22:29:40 +0000 http://cinemanche.com/?p=591#comment-113 I think Michael Caine's character sums up my main issue - he gave up Ariadne with almost no protest, despite obviously respecting her ability, and knowing what happened to Cobb and Mal (was Mal his daughter, or daughter-in-law?). That moment was symptomatic of the characters simply playing along, rather than their desires/needs/plans driving the story - that human element I'm looking for. The idea was everything in this film, and all other cinematic concerns were relegated, even to the extent that the nature of the crime has been forgotten in the face of the spectacle. I usually wouldn't get so worked up about it, but when it's being held up as a lesson in storytelling... I think Michael Caine’s character sums up my main issue – he gave up Ariadne with almost no protest, despite obviously respecting her ability, and knowing what happened to Cobb and Mal (was Mal his daughter, or daughter-in-law?). That moment was symptomatic of the characters simply playing along, rather than their desires/needs/plans driving the story – that human element I’m looking for. The idea was everything in this film, and all other cinematic concerns were relegated, even to the extent that the nature of the crime has been forgotten in the face of the spectacle. I usually wouldn’t get so worked up about it, but when it’s being held up as a lesson in storytelling…

]]> By: Guy LeCharles Gonzalez http://cinemanche.com/2010/07/26/contra-inception/comment-page-1/#comment-111 Guy LeCharles Gonzalez Mon, 26 Jul 2010 21:11:49 +0000 http://cinemanche.com/?p=591#comment-111 Oddly, I agree with just about all of this, but I think the movie worked because of these elements. It's never questioned that what they're doing to Fischer is wrong and immoral, but it's the work they do and they're comfortable with it, so there's no need to dwell on that aspect. Even Ariadne's motivation is made clear: the power to create without boundaries is too powerful to resist. That said, I was discussing it with a friend who didn't love it earlier today, and we agreed that Nolan never really gets relationships right, and it's a notable flaw here as you have to completely buy the relationship between Cobb and Mal for it all to come together. Despite that, I thoroughly enjoyed it and am looking forward to seeing it again. Oddly, I agree with just about all of this, but I think the movie worked because of these elements. It’s never questioned that what they’re doing to Fischer is wrong and immoral, but it’s the work they do and they’re comfortable with it, so there’s no need to dwell on that aspect. Even Ariadne’s motivation is made clear: the power to create without boundaries is too powerful to resist.

That said, I was discussing it with a friend who didn’t love it earlier today, and we agreed that Nolan never really gets relationships right, and it’s a notable flaw here as you have to completely buy the relationship between Cobb and Mal for it all to come together. Despite that, I thoroughly enjoyed it and am looking forward to seeing it again.

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