As a number of people have pointed by asking, my review of Christopher Nolan’s “Inception” doesn’t offer much perspective on the performances in the film. The reason is probably a combination of a few things.
For starters, I wanted to be as careful as possible to write a spoiler-free review that could be enjoyed by those who haven’t seen the film, and whenever I would find myself considering this or that performance, I felt detailed commentary on plot seeping in. So I pulled back. But more importantly, and this is no swipe at the talent on screen, the real star of the film is Nolan and his imagination.
That sounds like a cop out, but it’s not. I really and truly didn’t get a whole lot out of the performances. My favorite is perhaps the least emotional turn of the piece, a steely, confident, at times physically demanding piece of work from an actor I admit rarely does it for me: Joseph Gordon-Levitt. He lays claim to the character you’d probably trust sooner than the rest if you found yourself in these mind-bending circumstances and does it without histrionic swagger. I dug that.
Leonardo DiCaprio is as good as he needs to be in the lead, but despite my recent toast to his ambition, I’ve always considered him an actor whose inflections and mannerisms announce him as “acting,” and those peculiarities rise up plenty in “Inception.” But the thing about a DiCaprio performance, for me, is that criticisms of how he executes his craft rarely — if ever — get in the way of the ride he provides as a charismatic performer.
Marion Cotillard is a favorite in a few of the reviews I’ve read. This is an instance where it’s difficult to talk about her work without dipping into spoilers, so let me tread lightly. Cotillard has a tenderness about her that is always slightly heartbreaking. I can’t quite describe it, but she knows how to play frailty as an emotion and balance it expertly with strength and even defiance in an effective way. All of that is on display here.
Ellen Page seems a bit out of place, I have to admit. The student thing works to a point but once she becomes quite involved with the emotional struggle of DiCaprio’s character, she begins to register as a plot device and exposition pawn. That’s less the performance’s fault than the writing, but even still, I thought Page failed to give her character much personality.
Tom Hardy is a wonderful supporting player here and Nolan gets a lot of bang for his buck in casting the “Bronson” star. He’s going places and we all know it but his work here will remind unfamiliar audiences of something like Daniel Craig’s early work in “Road to Perdition”: a new actor with charisma to spare and an attractive self-assurance.
Ken Watanabe has a focus here that has become a trademark, while Cillian Murphy is serviceable as a man having the wool pulled over his eyes.
And finally, Dileep Rao and Tom Berenger have brief, perfectly fine performances to give. It’s nice to see the latter in a big production, much like it was wonderful to see Eric Roberts sounding off in “The Dark Knight.” Michael Caine’s role is so small it honestly doesn’t need mentioning, but it’s a nice little cameo and Caine knows how to act. So, there.
And that’s where I come down on the acting in “Inception.” None of it distracts, but none if it ultimately plays into what I believe to be the wizardry and at times expert execution of the piece. Hopefully that clears up everyone’s questions. Along with the review and extended thoughts on Oscar prospects, I think I’ve probably said all I have to say on “Inception” for the time being.
And truth be told, I don’t think anyone could nail this film down after one viewing. I’ll be saddling up to another tomorrow night and hope to pierce the mystery further. Perhaps the performances will register more profoundly on a second glance.
Comments
101 responses to “On the performances of ‘Inception’”
Apologies for referring to Dileep Rao by his character name. Edited.
And Michael Caine? haha, I love him.
Ah, see, that says everything about how small his role is. Haha.
I disagree with your comments on Ms. Page. Most critics thought her performance was quite good.
Yeah, I know what you mean about DiCaprio as an actor, sort of. I have to admit though that I’ve only recently begun to really really dig him as an actor beyond his more youthful work. Watching him perform in film is interesting because even if he doesn’t seem all that natural on a first viewing, I find that on subsequent viewings I relax more with his work. In fact, rarely does he really do something that seems false to the character, mannerisms and inflections aside. Actually it might be interesting if he did a smaller indie movie where he didn’t have all the weight on his shoulders, constantly having something to prove to people like yourself. Perhaps there he could be loosey goosey and work as freely as did in, say, This Boy’s Life or Gilbert Grape, two films that I think showcase the fact that he’s capable of being about as good as it gets.
Kris is not saying that Page’s performance is weak or anything. He just points out that her part is more of a plot device, therefore it’s not a fully developed character in the script. As far as I understand…
It strikes me that in a movie with this much going on, the performances might be more than a little difficult to fully appreciate on a single viewing anyway.
“I disagree with your comments on Ms. Page. Most critics thought her performance was quite good.”
Uh, do you disagree on the basis of your opinion or the basis of “what other people said.” Because the latter is silly.
I think I’ll go by what the majority of critics have said about Page’s performance than yours. Thanks anyway.
Anytime!
Lukas Haas?
haha, sorry I was just trying to be one of those guys ;-)
Well played. In it and out.
I’m still waiting on a list ranking Nolan’s films. I figure Memento and Batman Begins are on top, Prestige and Insomnia on the bottom. So I guess I really just want to see where Inception ranks in comparison to TDK. But yeah a list please!
The Dark Knight is a better film than Inception, in my estimation.
That is disappointing to read. Although it’s probably best since my expectations for this movie were way too high that I needed to bring them down to earth.
I will say that TDK has not aged well where as Batman Begins seems to be like fine wine. It has gotten better every viewing. But that’s me.
@ Kris:
You’ll have to excuse Akim. Her internship under Ellen Paige’s agent betrays a soft, quiet exterior.
@ Matthew Starr:
TDK hasn’t aged well? Already? Damn- two years went by fast.
Funny how that BB being a better film than TDK is becoming a popular opinion. I was all alone for a spell.
Kris, just one question: Has Nolan finally learned how to shoot an action scene? I thought most of the action scenes in BB and TDK are poor due to the cinematography and editing.
Kris, I won’t agree that it’s better because the dialogue is so atrocious in Begins that it is brought down considerably by it. That being said, it has better editing, pacing, and better character development for the title character. All in all they are pretty similar quality to me (8/10). Memento and The Prestige are both considerably better films.
I think TDK is interesting, mainly for Ledger, though. Otherwise, I get bored and think it’s fairly bloated and there are way too many explosions. So, anyhow, I hope this is just a difference of opinion and I like Inception better. I really wasn’t over the moon on TDK. But then I sincerely think WALL-E was far better than BOLT, too.
Dan: I stand by the way the action is filmed in the Batman series. And the proof is in the way the action is shot in Insomnia, almost like a ballet. And I don’t think he “learned” how to do it. I think he has simply been stylistic with his action where appropriate.
DRM: Atrocious? It has the same expositional shouting matches that everyone lets TDK get away with.
Kris, I don’t “let” TDK get away with it by any means. But Begins’ dialogue is worse. I’ve seen both of them 50+ times so at that point it does become atrocious.
Kris, try a drinking game with the word “fear” in Batman Begins. See how drunk you end up. Hell, the word is used so often in that film it’s probably a dangerous drinking game.
What bugs me about Batman Begins is how the refreshing and great first hour devolves into standard superhero stuff for the remainder of the running time.
The Dark Knight, on the other hand, had problems that I think could have been fixed in the editing room.
George, I can agree with that. The first hour of Begins is incredible, if you can ignore the dialogue. The storytelling is wonderful though. It’s right there with the original Superman film as the best superhero origin story IMHO. Even though the second part of the film turns into a pretty standard superhero flick, I do love certain elements of it such as the escape from Arkham with the bats (straight out of Frank Miller’s Batman: Year One) and of course the Joker card moment at the end.
The Dark Knight is a weird one for me. It was, and still is my favorite film of 2008. I think it’s an amazing, powerful piece of cinema (acrossssss the board).
And yet, I KNOW I’ve re-watched other films many more times since it came out (that also came out in 2008). Maybe that’s because it’s a long, heavy film. Maybe I crave something light on a more regular basis. But again, while it was my favorite of 2008, I think I even prefer Batman begins in retrospect, as well. Very odd.
Looking forward to every single performance; whether or not there are incredible stand-outs or not.
Kris, my dad is an extra in the film. Apparently he looks quite shocked at the 46-minute mark. Any insight on the look he gives?
Ha, no idea.
@ Kris:
Well, I’m a huge Batfan as well and I have always thought BB was better than TDK. More than anything, BB has a more deliberate pacing whereas TDK runs at 100 mph for 2.5 hours. As a Batman fan, I much prefer the character-driven BB to the zeitgeist of TDK.
As a huge fan of the character, though, they’re 1 and 1A for me. They compliment each other well.
Honestly, though, here’s hoping Batman 3 more closely resembles BB than TDK.
Wayne Manor needs to come back. And it would be nice to see a scene of Bruce at his parents’ grave.
I can’t wait to see this. I love — LOVE — that Tom Berenger is a part of the cast.
Perhaps “Batman 3” will provide, I don’t know, clarity to the TDK/BB debate. That the third installment will soften TDK’s edges.
Nolan garners great ensemble performances. I still think Gary Oldman deserved an Oscar nom for his performance in TDK. I predict that “Batman 3” will be Bale’s show.
Actually, it’d be nice to actually see a BATCAVE.
Begins had a Batcave. Pretty damn good one IMHO.
You know what I mean. Something in its full glory.
What do you consider its full glory to be? I’d be fine with the one from Begins coming back. But as Alfred suggested, they’re making “improvements.”
Not that difficult to understand. The one in Begins is clearly in its infancy. He only discovers the space in the second act of the film. Do you read Batman comics? That’s what I mean by “full glory.”
Vast computer technology, things like that. They were getting there in TDK, but it was unfortunately in the underground bunker thing. Move that stuff to the cave and amp it up, then they’ll be at what I’m talking about.
Then again, I’m one of those who thinks burning down Wayne Manor was pointless in the first place. Though as you say, they do plant the seed regarding modifications.
Yes, I’ve read a number of Batman comics over the years. I’m sure there will be more computer technology next time around.
BB and TDK are both great, but TDK is better for four reasons:
1. Slightly more subtle with its themes
2. Better dialogue (particularly the Joker’s)
3. Less conventional plot (no doomsday device)
4. Better villian (Scarecrow and Ras were cool, but Ledger’s Joker blows them both out of the water)
It’s merely popular to say BB is better for one reason: TDK’s gargantuan success. Happens to all of em (beloved big moneymakers).
Ah, a couple of years has flown by. I can almost mark a calendar between the time a film that catches fire is released and it’s inevitable revision from the watchers at the gate. Yesterday’s orgasm becomes today’s yawn.
I’ll say this much. I still think TDK is a better film than BB because it grounds itself in the world more, provides a more complex truth in it’s depiction on how fear works in a population and does it without relying on something as retrograde as a weaponized fear toxin, and has an awesome, unforgetable villain at its center.
“It’s merely popular to say BB is better for one reason: TDK’s gargantuan success.”
You were fine with your reasons before assuming that those who think BB is better are somehow responding with hip contrianism. Then you kinda pissed me off.
I never understand why people can’t just, you know, offer their opinion and leave it at that. There has to be some bullshit tacked on to make you feel better about that opinion.
Silly.
I’ve been on the record with my thoughts on these films for years, so you can’t crowbar that nonsense in here.
“It’s merely popular to say BB is better for one reason: TDK’s gargantuan success. Happens to all of em (beloved big moneymakers).”
I don’t agree. Even if TDK is a technically superior film in a lot of ways, the story is not as focused on Bruce Wayne/Batman as BB. BB is still the only live action Batman film that gave the main character proper character development. TDK and the two Burton films are great for their own reasons, but all three of them sort of let the villains take over.
@DRM, I get what you’re saying about BB and its focus on Batman/Wayne. But what I don’t get is why, when every sequel seems to retread the same material as the first film, we’re asking TDK to do the same thing. BB was about establishing the central character, so yeah, visit the graves, learn much more about Bruce Wayne as a character. I’m down with that.
But the second film was about (and had to be about) destroying his lingering naivety. Wayne is punished for hubris in TDK. He lost the woman he loves twice (once to Dent, a second time to death) and his ideas about what criminals are after are completely destroyed. He needed to go through what TDK puts him through to grow. That’s what we should ask of our sequels, right?
thanks for expanding your review with this acting epilogue.
again, gracias!
Funny how a lot of people are saying this is way better than Dark Knight. Subjectivity. A beautiful thing.
For me, TDK lost some of the impact BB had because I spoiled it for myself- I literally was all over everything that surfaced on the internet regarding script, leaked photos, etc. I knew about Gordon faking his death before I set foot in the theater for the midnight showing.
As a result, I cheated myself out of the impact BB had on me June 14, 2005. I simply couldn’t believe what I saw that night (morning). I was wowed by TDK, but felt I already anticipated a lot of what I saw.
Won’t make that mistake again with B3.
It’s always best to know nothing in my estimation. Makes the first viewing all that richer.
I thought both Batman Begins and Prestige were really awful films. I don’t think I could sit through either of them again. TDK is very good and Memento is great.
Upon first viewing I did not like Batman Begins and really liked TDK. My opinions have gone in separate directions for both.
The only elements TDK has over BB is an iconic villain and a better score from the Zimmer factory. Other than that everything is pretty even or a win for BB.
TDK was close to excellent until the third act. I just couldn’t stand everything that happens there. The ferry boat standoff, the sonar segment and of course the final scene with Two Face flipping coins to see who he will shoot. None of that matched the intensity of the first 2/3 of the film.
I liked Aaron Eckhart more as Harvey Dent than as Two Face. His character became way too one dimensional at that point. Right now I would rather see BB again than TDK.
One final note. Christopher Nolan is taking quite a while to make another “unanimous masterpiece”. Other than Memento all his other films have a good share of protesters. Every time I think he may be the next Spielberg I realize how many truly amazing films Spielberg made so early on.
Does anyone think Chris Nolan is a top five director working right now?