Two days before the Oscar fetch this paper ever published. The Speech of the King and 'a great Filmon, reassuring middle-class, old-fashioned way. Inception and 'something else.
My father told me recently that the first great divide that has assisted and 'was that between John Wayne and The Graduate, when I change' forever how to make films. According to him, Scorsese, Coppola, Lucas, Spielberg and Milius were only trends. Matrix, thirty years after he started the syncopated spectacle of cinema: a fast-paced technological revolution breaks interspersed with narrative / explanatory epic character. In a sense, the Matrix is \u200b\u200bnot 'a unique experience but a series of complementary expertise, which can be experienced separately (hence the' Matrix can 'be seen a million times without tiring), thanks to the succession protection between action and story. The epic nature of the Matrix, however, creates 'a mixture of awe and distance between himself' and the viewer: analyze our world and our destiny, but ourselves.
The "miracle", the step Inception forward lies here, in assimilating the lesson of The Matrix and bring it to the next level, bringing the action (plot) to the full merger with the pathos (generated by the fabula). To simplify the terminology you can 'say that any film unfolds through a series of events, more' or less in support of the message you want to convey. The joint and the dynamic of events causes the disease to each other and curiosity 'that holds the interest immanent. The underlying message, use the fact cultural events (in the worst case instead uses the dialogue) to impress and live in the story itself. Christopher Nolan and 'great experimenter of games of straw, of Memento to The Prestige shown to handle it by deception narrative. Memento and 'simply a challenge to the attention of the viewer, the pathetic element inevitably drowns in complessita'degli events; really hard to be interested in the fate of the characters in such a Machiavellian game of mirrors. The Prestige is instead 'already' a step forward in making the 'quiz' functional to the drama of events, and 'the true follower of Inception. Piu' The Dark Knight, wonderful exercise in style (even if the realism of Michael postcard Mann and 'here more' than just inspiration) but quite far from the vein of "sympathetic riddles" in Inception and 'climax.
Inception governs with absolute mastery of the dictates of narrative creates interdependent levels of story that unfolds with a miraculous strength and order, creating a transportation and natural emotional unconscious as dreams. The dreams, we have already 'mentioned, are the soul of the film and mirror the soul of man, his subconscious. We know when and how to begin, are irrational in a journey which often coincides with the beginning of the end. The continuum of emotions can not ask too many questions and not feel guilty if you do not immediately find all the answers. 2001 set this lesson long ago, and did so in a more 'definitive and magnificent, but getting rid' of the responsibility 'to create a storyline that are of real interest in the events in isolation from the survey anthropology.
Inception begins when you leave the cinema, when you fall in love the idea of \u200b\u200bbeing able to relive the memories through our emotions, to be able to fix our past world in a dimension that exists only within us but it can 'also be shared . The final lesson, that the memories are too often taken only for their best, and 'a truth' crude and obvious, as well as isolated in his own imaginary world inevitably leads to a detachment of the painful reality '.
Inception and 'millet film of my time. What comes after Nichols, Scorsese and Spielberg. DiCaprio and 'millet actor of my generation. That after Dustin Hoffman and Al Pacino.
JS
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