Monthly Archives: July 2012

Inception (2010)

Beneath the multiple dream layers and visually-stunning gravity-bending action sequences of Inception lies one powerful truth – that our ideas, our thoughts, memories and beliefs, are the most powerful forces in our lives:

Cobb: I’m going to improvise. Listen, there’s something you should know about me… about inception. An idea is like a virus, resilient, highly contagious. The smallest seed of an idea can grow. It can grow to define or destroy you.

As the mental ballet of Inception unfolds, we learn that Cobb is speaking from experience – not only is he suffering from guilt over the death of his wife Mal, in Mal’s life, her beliefs about reality were both defining and destructive. Now Cobb’s guilt threatens to destroy not only his chances at reconciliation with his children but also the people he has brought together for this one last job:

Ariadne: You might have the rest of the team convinced to carry on with this job, but they don’t know the truth.
Cobb: Truth? What truth?
Ariadne: The truth that at any minute, you might bring a freight train through the wall. The truth that Mal is bursting through your subconscious. And the truth that as we go deeper into Fischer, we’re also going deeper into you. And… I’m not sure we’re gonna like what we find.

For all the dream layers within Inception then, the movie connects well with our reality. Much of what we do and say comes from deep deep down, a place past the concerns of the immediate and short-term; a place we may not often visit, for fear of what might be, or what is, down there in the subconscious. And these affect the experiences and interactions of our conscious choices.

One of the questions which arises in the final scene is whether the top continues spinning or whether it begins to fall, indicating whether the final scene was on our level of reality. Cobb says earlier that “we all yearn for reconciliation, for catharsis” and at this point, Cobb has achieved the reconciliation that he sought. It no longer matters in the context of the film. We must look at what is real for him – after all, what is real when we are watching the movie?

Though it is an interesting question to puzzle over, Inception is not about what is real (unlike The Matrix), but the reality of the intangible and subjective – we really do live through guilt, through feelings, emotions and thought processes, and these realities bear themselves out in a yearning for restoration and reconciliation. Living through memories, regrets, opportunities lost. Not tangible but no less real. A similar thing could be said of lust or hatred. Not tangible, but no less real experiences and desires, though we could argue about whether these things objectively indicate the state of ourselves. Indeed, the tagline for the movie is “Your mind is the scene of the crime.”, so at least from a marketing angle there is some moral question at stake!

Christianity then would say we come to need cartharsis – purging and cleansing – because we are first and foremost not reconciled to God – to the God whose mind conceived our reality, our world, long before we came to be. In the Gospel, the death and resurrection of Jesus cleanses us (1 Corinthians 6:11, Titus 3:5-6), and gives us a new identity, when it is received when one takes ‘a leap of faith‘:

17 Therefore, if anyone is in Christ, he is a new creation. The old has passed away; behold, the new has come. 18 All this is from God, who through Christ reconciled us to himself…19 that is, in Christ God was reconciling the world to himself, not counting their trespasses against them… (2 Corinthians 5:17, 18a, 19)

Like Cobb, we all have stuff we regret, but in Christ, they need no longer define or destroy us.

The Descendants (2011)

Three things to like about The Descendants:

1. George Clooney – In contrast with many other roles which in which George embodies style, smooth-talking and has a bunch of cool friends, George admirably pulls off the ordinary and vulnerable father. Easily likeable and by no means a perfect character (none are), but for mine his best performance and well deserving of his Oscar nomination. The supporting cast was great too.

2. Thematically, there’s heaps going on here – family, identity, parenthood, heritage, suffering, death, marriage. Marriage and family are good things when they work well, but they are hard work, complicated by our imperfections and what life throws at us. The film is honest: life is tough and complex and frustrating, largely due to people, no matter where you live.

3. The writing – the Oscar-winning adapted screenplay is funny, tragic and poetic, and no doubt owes much to the source material.  Here are a couple of my favourite quotes:

  • My friends on the mainland think just because I live in Hawaii, I live in paradise, like a permanent vacation. We’re all just out here, sipping Mai Tais, shaking our hips, catching waves. Are they insane? Do they think we are immune to life? How can they possibly think our families are less screwed up, our cancers less fatal, our heartache less painful?
  • A family feels exactly like an archipelago, separate but part of a whole, and always drifting slowly apart.

Timeless: The Treasure of the Sierra Madre (1948)

Two down-on-their-luck men, Dobbs (Bogart) and Curtin (Holt) and a prospector, Howard (Walter Huston) , join forces to search for gold in the mountainous wilderness of the Sierra Madre, Mexico. Under the threat of bandits, strangers and the harsh environment, their store of gold increases, while their own greed and paranoia threatens to overcome their dreams of freedom.

The Treasure of the Sierra Madre is the third pairing of the legendary Humphrey Bogart and director John Huston. Filmed in 1948, the movie won Academy Awards for Best Director, Best Screenplay and Best Supporting Actor. The film was also included in the National Film Registry in 1990, due to its cultural, historical or aesthetical significance. Bogart shines here as the jaded, penniless protagonist who gambles his life on striking it lucky. But the treasure of Treasure is the radical deconstruction of wealth.

The seasoned prospector Howard observes that gold is only valuable because of the labor others put into finding it and then it’s only good for making teeth and jewellery, echoing the Marxist notion of the labor theory of value. Does gold (or any material) have any inherent value? Gold is useful for other things today – it has many useful properties, but even then it’s value is determined in relation to other factors (i.e. humans). On the other hand, Howard also comments that wealth itself is not a bad thing – the problem is with the person who gets it.

The desperate Dobbs though believes he can control his desire for more and more gold, but as the pile of gold heaps higher, so does his paranoia. Dobbs is convinced that his companions are planning to kill him to take his share of the gold and cracks begin to form in his mind.

Dobbs is not alone in his broken world however. When Curtin heads to the village for food supplies, Cody an American who might want to cut in on their treasure, follows him back to the campsite. The trio decide to kill him. Before they can do the deed, banditos stumble across their campsite and Cody is killed in the ensuing gunfight. Finding a letter from Cody’s wife, there is a sense that they are somehow complicit in creating a widow even though they didn’t actually kill him. Clearly, their struggle for the easy life has brought them a long way from anything resembling home.

Dobbs fails to heed the voice of wisdom in Howard and spirals into oblivion in a vivid picture of enslavement to his wealth as he drags obstinate treasure-laden mules through the sandy desert. And like the gold which blows away on the wind, Dobbs too is dust, and returns to where he came from. Aren’t our lives much the same? We seek an easy life; we work and labour for reward; our plans are often frustrated by failure, forces beyond our control, or our own moral failures and our own greed. And then we die, taking nothing with us. The teacher of Ecclesiastes writes:

What do people gain from all their labors at which they toil under the sun?
Generations come and generations go, but the earth remains forever. (Ecclesiastes 1:3-4)

In recent years the world has seen the devastating results of greed in the global financial crisis (as it’s called here in Australia). And regardless of what you think of climate change predictions, we can always consume less than we currently do. While Treasure was made in 1948, the film still seems relevant today as it asks us – what is worth investing in? What is truly valuable? What can one truly gain? In the Sermon on the Mount, Jesus of Nazareth says:

19 “Do not store up for yourselves treasures on earth, where moths and vermin destroy, and where thieves break in and steal. 20 But store up for yourselves treasures in heaven, where moths and vermin do not destroy, and where thieves do not break in and steal. 21 For where your treasure is, there your heart will be also. (Matthew 6:19-21)

Jesus is cautioning his followers here to choose their treasure carefully, because thereafter the heart, the affections (and subsequent actions) will follow. Of course, if Jesus is who he says he is, then life here is not the end and what we do with our wealth actually matters.

Treasure covers similar territory to There Will Be Blood, A Simple Plan and No Country for Old Men. And incidentally, Paul Thomas Anderson studied Treasure extensively while working on There Will be Blood. But where No Country ends in futility, and A Simple Plan ends in resignation, Treasure ends with hope – hope which begins with the realisation that our material treasures and our lives are ultimately fleeting.

Water for Elephants (2011)

When I first saw the preview for Water for Elephants in the cinema, I thought my wife would love it. While the central marketing angle of Water for Elephants was as a love story, the story gives much more attention broader themes of honour, dignity and stewardship.

Vet student Jacob (Robert Pattinson) joins the circus after the death of his parents. Christoph Waltz stars as the circus master August, whose public showmanship belies an iron rule. Waltz was sublime as the charismatic Nazi in Inglorious Basterds, and he turns in another strong performance here. August’s wife Marlena (Reese Witherspoon) performs in the circus too, riding the prize show horse. Following the sickness of the main show horse which is eventually put out of its misery, the circus master seeks a new act and purchases an elephant around which to build a show.

The elephant does not cooperate with Waltz commands and he constantly jabs the beast to make it conform to his wishes. After the animal goes on a rampage during a show, Waltz severely injures the animal in punishment in scenes which some might find disturbing. He expects respect even from animals who don’t know better, and when they ignore him he hurts them.

We read in Genesis that one of the tasks that man has before him is to work and care for creation; he was to rule the earth but to do so in a loving and caring way:

Genesis 1:28: God blessed them and said to them, “Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky and over every living creature that moves on the ground. ”

Genesis 2:15: The Lord God took the man and put him in the Garden of Eden to work it and take care of it.

All around us we see how man has failed to look after the land and the creatures of the earth, particularly in the harmful industrialization of food sources, the destruction of habitat as well as the many specific cases of animal abuse. Ultimately, the way August treats the elephant is symptomatic of the way August views everything, including his wife – they exist to serve him. Rather than fetching water for elephants – caring for the things under his care – August neglects and exploits.