There was a lot of waiting in my part for Inception. That trailer more than six months ago I had nailed to the chair, plucking the strings just enough to water the seed of curiosity. Only in retrospect I realize how effectively those thirty seconds of promo art to be mounted without excessive spoilers, but showing just enough to intrigue.
I like to call the new work by Nolan as the first "action movie auteur" of history. Because while not eluding to the dynamics and issues of popcorn, Inception tells his story to perfection, no flaws, the pieces on the board and then deliver the checkmate, but did not explain in detail all the steps, letting the viewer to offer you the right questions and to find the answers alone. With a screenplay that draws abundantly from Matrix, from the pages of Borges and Philip Dick, Nolan tells an original story not so much in the premises in the performance, which bases all its complicated essence, it is appropriate to say, on a simple idea. On the other hand, as stylistically well-kept, the imaginary dream where Nolan takes us for almost the entire duration of the film is extremely cold and rational: Dreams crafted to achieve the goals "are not strictly legal" team are sterile aseptic and populated by a subconscious and spontaneous extremely hostile intrusion. I am also desperately rational, both in the strict rules that govern them both in the paradoxes that we harbor, so as not to seem more dreams, more than anything else so much closer to the concept of collective hallucination. Cold are also the members of the team, largely driven by economic interests, with the exception of the protagonist, who, moreover, has never thought of making a living with something different from theft. Like it or not, this is the vision of Nolan, and should be recognized that the efficiency with which it is proposed making it self-sufficient and able to stand, to suspend the disbelief of the spectator stage for the duration of the spell. Apprezzabilissimo approach: despite the difficult nature of the plot, Nolan throws the viewer into the fray in the middle without giving lengthy explanations, thus arousing attention that is rewarded by providing all the tools necessary to understand the pace, leaving enough unanswered questions to encourage reflection, sull'intreccio the suspect even after the credits. The real magic however lies in its Inception assembly, refined, calculated to the millimeter, clear even in the simultaneous superposition of four moments suspended in time, levels side by side with a perfect cadence so surprised to even a second viewing. Good race for the cast, well-stocked, clearly motivated and determined to give the best in each sequence, with the rudder firmly in the hands of an increasingly convincing Di Caprio and mature. Exceptional and elegant special effects, not so much for mere technical qualities, but for the ability to fit perfectly on the border between reality and illusion, without losing the absolute likelihood. As for the final "pending" as discussed in reviews of foreign and homegrown, in my humble opinion it is a mere illusion: the elements to give a satisfactory answer to the question are all there, just want them to see. Last note on the soundtrack, signed Hans Zimmer: majestic in all its not music, is able to thicken the stylistic already high production, gently pointing out a few moments, leading to the climax the tension in others. Inception is the demonstration that the pure entertainment does not have to use regardless of intelligence, investigation and pursuit of their cognitive abilities, leading to a new level the concept of action cinema. It is hoped that the cash, however, encouraging to persuade the majors to support future projects not only of the director in London, but also to all those who prove to be able to establish a solid narrative ideas, "simple" maybe, but original.
In a word, Inception deliver, and this is for a friend.
