The Beginning (New Movie Review)

The Beginning (Christopher Nolan, 2010) - Chris Nolan has unquestionably been good at creating mass entertainment that appeals to a wider audience without the humiliation of public intelligence, Given the blockbuster fare, this is an extraordinary achievement. They can be honored for their efforts, and critics have written the name of their latest film, the beginning, a "hit" even before it came out. Certainly after the mechanical music reminiscent of Transmitter 2, the trailer with a picture of a small European city definitely putting itself under the roof, the trailer certainly brings creative dreams of mind-bending reality through the roof and Have your hopes up for ideas. And, for the most part, this movie lives up to expectations. It's entertaining, well-complex, well-original and well-thought-out fun.

Leonardo DiCapri stars as "Cobb," the son of a professor who is apparently developing the field of dreaming research where specially trained agents can attract the dreams of others. It's not entirely clear how they determine where they are going, but it has to do with something that everyone can carry. They become dosed with sedatives and are all designed in one dream, or by an agent who enters the "surface," the "architect". This level is populated by Benazir of the targeted individuals. If the target realizes that their dreams are being matched by foreign elements, their anxiety may change as agents of these matrix films. Despite unfounded protests from his father, Cobb has changed the technique he specializes in to a profit-seeking organization, hiring a team that is already well-versed in the rules of manipulation in dreams. Be well-known by the way. (I wonder why they find other specialists so easily when they offer services, but I stopped my qualifications and went with the flow.)

Movies are a great way to dream. The films themselves can be followed by some kind of dreammaking, but also follow the logic of both the films and the dreaming mind. An idea leads to one outcome, which leads to another, and so on. In training his teammates when they are in a dream and when they are in reality, he says, "Do you ever understand how you are always right in your dream? How did you get here?" ? "This is what editing allows filmmakers to ignore - no problem connecting ideas, always pushing the viewer straight into the visual process, never leaving the non-contradictory.
So what is Nolan's secret for connecting with so many people? I will say that its the little things, the things that register unreservedly while watching their films. For example, violence is always felt in realistic terms - when a person is criticized by a vehicle, his or her body is pushed forward and the impact is the result. After hitting the windshield, the man's head comes precisely, and comes from inside the camera, where the camera is. This kind of audio is a sincere Nolan trademark, and enhances the appearance of realism even when its stories are clearly imaginable. The scenes in a zero-gravity environment (the result of a free fall dreamer) focus on the same level for physical fidelity, and they are, to me, very surprising to watch.

To this credit, the film refuses to speak to its viewers. It also refuses to talk over their heads. As a result, it usually does a lot of things. And, if you spend a long time explaining the cubes being made and why you feel they don't really make much sense. You die in a dream and you end up in the lowest level, "limbo," "pure infinite abbreviation" ... But if you die in the lab, you are deported to the next level? Why Does Gravity Have a Time of Scientific Discontinuity of Gravity and Time? What can and cannot be, so why are there so many rules? Isn't everything possible in a dream? If this dream can be dreamed, then it can be dreamed, right? Thankfully, this movie is incredibly complex and gives you a lot to challenge, so you always have to play catch-up and you won't necessarily be disturbed by logical differences. And, for the most part, the specifications are well thought out and sound-making.

The beginning is original and cinematic and calm in many ways. But, it still left me a little unusual. I wouldn't call it "cold" mental exercise, as it sounds, but it is a mental exercise. Newcomers should be credited with their intelligence and mind-blowing storytelling techniques, but how do we get emotionally involved in dealing with their lives? So far, in his work, I have not been.

There are some similarities to Shutter Island - in both films we are inside the mind of a criminal mental issue played by Desperado - but this is the opposite of the opposite. In the Scorsese film, DiCaprio's character spreads unevenly through his heart. In Nolan's image, his crisis of reality is unfortunately the result of external forces, not his own anxiety. While overall a more successful film, Shutter Island is a more emotionally complex piece. The question, "Is this a reality or is it a dream?" Just so worth considering. After 2.5 hours I would question fate, and wanted to do something to chalk it up.
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