我们不得不更深入:盗梦10周年

“She became obsessed with the idea that our world wasn’t real, that she had to wake up to get back to reality.”

我们都觉得有点位移到2020年,这个意义上,我们周围的世界是不是真实的,是我们在从中我们需要唤醒一个梦想。的新印刷的70MM运行的时序Christopher Nolan“S“盗梦空间“音乐盒在芝加哥剧院将the film’s tenth anniversary and as a prelude to the release of the acclaimed director’s “Tenet,” but the film carries a different energy in our dreamlike state of Summer 2020. Everything does, really. However, watching “Inception” a decade after its release, one is struck by how remarkably timeless the film feels. It could easily come out today and make just as much money, maybe even more, which is not something that can often be said ten years after the release of a blockbuster, especially one as effects heavy as this one. What is it about “Inception” that makes it feel so current?

First, a confession: I turned down a chance to see the new print. I couldn’t do it. While I’m not going to judge someone who is ready to run back into movie theaters as the pandemic continues to thrive, I’m just not there. After much discussion with family, it actually came down to a simple argument. While my logical brain knows the chance that anything could happen is statistically insignificant—Music Box is doing an amazing amount to alleviate risk, including configuring their ventilation so it doesn’t recycle air and only pushes in fresh from outside—my emotional brain would have been too distracted to concentrate, not only during the screening but for days after, when every cough and sniffle would incite panic. I feel like I’ll be ready soon (although only for Music Box's extreme precautions). I wasn’t yet.

还有的在不被身体或心理准备“盗梦空间”专门有一定的讽刺。毕竟,它是关于一个男人,Leonardo DiCaprio’s Cobb, who is running from reality, digging deeper into levels beyond normal existence in an effort to flee his own grief, trauma, and blame. Nolan brilliantly spaces out revelations about Cobb’s purpose in his existential heist film. On one level, it’s a story about corporate intrigue, but that’s really a cover for the emotional arc of Cobb, who is dealing with his perceived failure to protect his wife, and belief that his action led to her suicide. Cobb is somehow both fleeing reality and trying to fix it at the same time. Who can’t relate to a sense of immobilized anxiety in 2020, in which we feel like we should be doing something but are stuck in our own forced routine? Or the idea that we have to push through something that feels like a bad dream to come out the other side?

撇开我的忧虑约在电影院看电影,重复在家里观看阐明的“盗梦空间”的诺兰是多少级工作的同时,很像叙述的分层梦寐以求的境界。在一个水平上,这是一个重型的动作片完全与感觉受到启发007,尤其是在最后一幕套装件。It’s an undeniably complex film narratively, even if that has been overblown—one that always feels like it’s a step ahead in terms of unpacking exactly what is happening—and yet it’s also a remarkably easy film to just let unfold, experiencing it beat by beat instead of trying to piece it altogether, much like, well, a dream. We don’t ask ourselves what dreams mean while we’re experiencing them—we simply ride them out. "Inception" works best when you're not trying to parse exactly what's happening and when, and you allow the emotion and action to carry the experience.

很容易的理由是“盗梦空间”得意忘形很简单:这是历史上最重大的推进大片之一。它永远不会停止。“盗梦空间”的令人惊叹的技巧是诺兰如何作出这样的对讲机电影,从来没有拖再拖。它不断地解释它是什么,它做什么在它应该停顿下来,过论述的方式是动作大片,然而诺兰余额的死亡与这种强大的,充满激情的电影。无论是Wally Pfister的丰富摄影,一Hans Zimmer最好的成绩,或李·史密斯的犀利,但是,从不活跃的编辑,有信心在每一个帧。

It’s also a film that, for better or worse, served as a tentpole for our puzzle box culture, one that loves to analyze and interpret art to extremes never imagined before the internet (go Google "Inception Ending Interpretations" and come back in about 12 hours). By the time he made “Inception,” Nolan had already fed this beast with films like “Memento” and “The Prestige,” but this takes it to another level by also serving as a commentary on puzzle box creation. “Inception” can very easily be read as a commentary on filmmaking. As Cobb and Ariadne (Ellen Page)通过梦境建设理念的工作,它呼应诺兰看待他的艺术的方式,嵌入薄膜的每一层有不同的想法,甚至是工作用自己的方式进入观众的想象力。梦想家,还是观众,不知道他们是在梦中,很像电影经验的假象最好保留完整。

正如罗杰说,“这部电影的主人公通过挑战自己创造一个迷宫测试一个年轻建筑师,诺兰测试我们用自己令人眼花缭乱的迷宫。我们必须信任他,他能带领我们走过,因为大部分的时间我们迷路了,迷失方向。”诺兰的爱与感知玩,所以关于怎么样一个人看到,感觉可能是一个建筑可以说是他职业生涯迄今为止的创造者和创造最完美的契合电影。

有一件事深深打动了我在2020年看完“盗梦空间”是我如何一定是,这部电影将与它十年前做了同样的冲击降落。这是很少见的情况。CGI开始显得过时,名人从恩典下降,思想成长的陈旧,没有发生在“盗梦空间”。部分原因是诺兰多少停留当前与随访像一个电影制片人“星际” and “敦刻尔克“。一个重磅炸弹通常会觉得过时时,这是最后一件好事,任何参与制作,但迪卡普里奥和诺兰,可以说是比较流行的十年后。It’s still breathtaking that a movie this complex made over $800 million worldwide and was nominated for Best Picture, but I am certain that both of those things would happen again if it was released in 2020. Well, maybe not in Summer 2020, but you get the idea.

So this is not a typical anniversary. Most of the time, these occasions feel like an opportunity for critical hindsight. They often come with words like “underrated” or, lately, “problematic.” What did people miss then? How does it play differently now? “Inception” defies this analysis, at least on its tenth anniversary. It’s still working its way through our imagination, something that feels even more important than it did when the film came out. Part of its brilliance is how much we’re all still kind of staring at that spinning top, waiting for it to fall.

For more information about the Music Box Theatre's special 70mm presentation of "Inception,"click here

Brian Tallerico

Brian Tallerico is the Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and Rolling Stone, and the President of the Chicago Film Critics Association.

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