There are active filmmakers who, as high as they are for moviegoers, often serve as a target for the most ruthless critical darts of the snobs on duty. Like Christopher Nolan . Of course, no one has to marvel at his contributions, but from there to abhor them as if they were those of a Uwe Boll ( Alone in the Dark ) from three to a quarter or demonstrate an obviously unfair disdain for them mediates a good stretch. Although one is called Charlie Kaufman ( Forget about me! ) And is a terrific screenwriter: in his novel Antkind (2020) you can read that “Starbucks is smart coffee for dumb people. He is the Christopher Nolan of coffee ”. Or will only its protagonist think it?The Dark Knight is the best film by Christopher Nolan and, perhaps, superheroes, but Origen is the filmmaker’s most captivating
Be that as it may, it is obvious that the British director can not rub elbows with Ingmar Bergman ( Secrets of a Marriage ), Martin Scorsese ( Infiltrators ) or anyone else who lives up to him because he lacks the depth and clarity of the one and the very powerful audio-visual style of the other , but yes with the very skilled Steven Spielberg ( Schindler’s List ), Robert Zemeckis ( Forrest Gump ) or Frank Darabont ( Life imprisonment ). And he has demonstrated it in works such as Memento (2000), Insomnia (2002), The final trick (2006), The Dark Knight (2008) ,Origin (2010) , The Dark Knight: The Legend Reborn (2012), Interstellar (2014) or Dunkirk (2017) .
Thus, eight of his ten feature films released so far and in the last two decades, with Tenet (2020) on the starting grid delayed by the havoc caused by the coronavirus, are some very interesting cinematographic exercises. But only two of them, really good: The Dark Knight and Origin . The first film is the best of Nolan and, probably, of how many there are about superheroes out of comics; but the second is the most captivating that the filmmaker has given us. For its narrative ingredients , its structure and the strength of its audiovisual montage, sensational as a whole from any point of view.
One is perfectly aware that the technique of starting in media res , at a very advanced point in this singular story to spur the fickle interest of the spectators, may not seem very novel to us today after we have swallowed it so many times. But such circumstance does not mean that it continues to be most effective when it has been posed this well in Origen , with a gradual revelation of the situation, turn after turn, and the operation and rules of dream manipulation . The mix of elements is so fascinating in this thriller , sci-fi and action thriller , and it is displayed in such a compelling way that you just have to surrender to its charms
However, Christopher Nolan falls back into his capital sin as a screenwriter, quite recurrent in his career, introducing us to characters without too much depth. But the truth is that it has been overcome on this occasion and has known how to season the plot to make it tastier with a tragic mystery about its protagonist , the Dom Cobb by Leonardo DiCaprio ( Titanic ). That the characters drag internal dramas that influence their behavior and that suppose something to clarify we can not say that it is anything new. But in Origin , this detail from Cobb’s past is intimately linked to the crux of the plot and even to the film’s own title.
None of the cast members dazzle us with their performance , in tune with their only outlined characters. But his good work is indisputable and everyone is faultless, from DiCaprio as Cobb, Ellen Page ( X-Men: The Final Decision ) in the shoes of Ariadne, Joseph Gordon-Levitt ( Brick ) as Arthur, Tom Hardy ( Mad Max: Fury on the road ) playing Eames or Ken Watanabe ( The Last Samurai ) as Saito to Marion Cotillard ( Big Fish ) in the shoes of Mal Cobb, Cillian Murphy ( Peaky Blinders ) as Robert Fisher, Tom Berenger ( Platoon ) of Peter Browning, Dileep Rao ( Avatar) as Yusuf or Michael Caine ( The footprint ) giving Miles a face.
His fictional beings do not enjoy a respite in most of the 148 minutes of Origin , whose vigorous rhythm is thanks to a dynamic montage and with several parallel narrative threads in long sequences , flashbacks that delve more and more into the heavy psychic burden. from Cobb, a delicious slow motion with objects that accentuate suggestion, the powerful and iterative soundtrack by Hans Zimmer ( Hannibal ) and a total and imaginative use of the dream environment to give us indelible images. And, as a cherry, a conclusion to give it turns after the fade to black. So making this movie captivate is easy. You just have to get rid of prejudice andlet yourself be carried away by your dream factory .