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Posts Tagged ‘The Matrix’

My rating: ****
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I have no doubt that Inception will prove a bonanza for all those analytic philosophers churning out edited collections on analytic philosophy and popular culture over at Open Court. Let me propose a workable alternative title for the film to start them off: Descartes and Freud. The Final Showdown. Or, for those of a Foucauldian persuasion working with other publishers, I might suggest Dream and Existence: The Movie, or even My Body, This Paper, This Fire, Redux. But before anybody gets too enthusiastic, we are talking strictly Freud and Descartes 101 here, for beginners. Thus we have Descartes’ famous meditation on dreaming, madness and doubt and some rather unsophisticated references to repression, guilt and the unconscious id – with a nod to Jung thrown in.

But for all that, Inception is a highly watchable action film with an intellectual edge in the same vein as The Matrix. The premise is that a vaguely defined technology allows people to visit the dreams of others in order to discover their secrets. A much more difficult process allows dream visitors to plant a new idea in the head of the dreamer. The technology and those who use it are deliberately left rather vague which allows the focus to be placed firmly on the more interesting end result of the process rather than in the techniques of getting there.

It is quite a novel experience watching a mainstream Hollywood action thriller that requires concentration to focus on all the simultaneous levels of action taking place – dreams within dreams within dreams. But it is the sort of intellectual concentration that one brings to solving puzzles – puzzles such as labyrinths which feature quite heavily in the film. And of course the character in the film who designs the labyrinths is named Ariadne. But we are not talking Borgesian complexities here. If it is a welcome change to have something to think about in an action thriller it is not the sort of intellectual focus that is associated with altering one’s experience of the world.

If in The Matrix, the question is how we distinguish between ‘reality’ and the illusion of ‘virtual reality’ (Plato’s cave), Inception gets back to classic Cartesian roots. How do I know that I am not dreaming? Just for the record here is Descartes’ classic passage on dreaming from his Meditations 1

How often have I dreamt that I was in these familiar circumstances, that I was dressed, and occupied this place by the fire, when I was lying undressed in bed? At the present moment, however, I certainly look upon this paper with eyes wide awake; the head which I now move is not asleep; I extend this hand consciously and with express purpose, and I perceive it; the occurrences in sleep are not so distinct as all this. But I cannot forget that, at other times I have been deceived in sleep by similar illusions; and, attentively considering those cases, I perceive so clearly that there exist no certain marks by which the state of waking can ever be distinguished from sleep, that I feel greatly astonished; and in amazement I almost persuade myself that I am now dreaming.

As he notes, there is actually no way of distinguishing between the waking and sleeping states when one is experiencing them, yet the premise in Inception is that it is possible to carry around a small physical object of one’s choice which allows one somehow to distinguish between dream and wakefulness. It is hard to see how this can work as one can dream anything at all – there are no external guarantees (apart from God, according to Descartes at least). The other problem in the film is that the dreams in the film, even if they are designed to some extent for the dreamer by the visitors, unfurl in a fairly logical fashion, which as most people know is not how dreams work. There are also various other plot difficulties – but perhaps these have been planted deliberately to provoke the viewer – I certainly hope so.

Attempts are made to give the film an emotional core along lines that evoke The Forbidden Planet and even Solaris. There are also some resonances with Vincent Ward’s 1998 film What Dreams May Come which I won’t reveal in the interests of not including spoilers. But unfortunately the film is badly let down by the casting and performance of Leonardo diCaprio as the central character. Where the writing indicates a complex, intelligent, grief stricken individual struggling with his own demons, what we get instead is bland and self assured. The right casting and direction (intense closeups) would have made the difference between a spectacular action film which poses interesting intellectual puzzles, and a film which went to the next level with a real emotional punch. An opportunity sadly missed.

But quibbles aside, the set action pieces in this film are impeccable with some fabulous special effects and good acting from the supporting cast. The soundscapes and music – particularly in a dream which takes place around a snowy fortress – are very effective as well.

In any case I will look forward to seeing an Open Court publication appearing some time in the near future…

Not much later… (15th August).

It has come to my notice (thanks Stuart!) that Blackwell has already put out a call for abstracts on Inception and Philosophy to be edited by David Kyle Johnson in the Blackwell Philosophy and Pop Culture Series. If you are interested, Dr. Johnson’s contact details are on his webpage.

There is already some interesting reflection around the film. For a Deleuzian interpretation of Inception see the Cineosis blog. There is also a most interesting article by Ian Alan Paul in Senses of Cinema on the indetermincy of both subject and object in Inception. This article also makes passing reference to Deleuze.

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My rating: ***
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This film is a collection of science fiction clichés. The style is pure Matrix and the writers have gone the whole hog and recognised the long black coats of the heroes of The Matrix as priestly soutanes, calling their wearers Clerics. It is the job of the Clerics – Fahrenheit 451 style – to incinerate all artefacts of culture – books, paintings, music, pets (!) anything which can provoke an emotional response and therefore lead to wars. The voice and face of the obligatory Big Brother figure (or ‘Father’ in this case) which appears on big screens everywhere is the always excellent Sean Pertwee departing from the cliché in so far as he is a fairly young and good-looking dictator. Angus McFadyen is also a young and good-looking Vice-Counsel (acting as Regent for Father) of the clerics. Yet for all the clichés, the film works and looks great and the ‘gun kata’ fights with Christian Bale in the central role are very aesthetic.

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My rating: ***

The Subtle Knife (His Dark Materials, Book 2) The Subtle Knife by Philip Pullman

My review


I found this book a bit disappointing after the first one. It has taken me a while to analyse why. I think it is a combination of a number of things.

First of all I’m not quite convinced by Pullman’s cosmology. Somehow it isn’t big enough – there is not enough to it to really give me a sense of large spaces and ambiguous complexity. The cosmology works much better in the first book where it is highly organised. It is less convincing as it starts to change and break down in The Subtle Knife. Even though we have three worlds in this book – including our own world the cosmos feels much smaller than in the first.

Secondly, it appears that Lyra after having initially been the heroine is now in fact just there to help the hero. This was something I found really disappointing about the film The Matrix for example. In the film Trinity is set up as a remarkable and admirable figure and then all she becomes is a helper for the central male hero. Lyra becomes a far less interesting and likeable character in this second novel with a strong emphasis on her uncivilised character traits.

The central character Will also reminds me of that other Will in Susan Hill’s The Dark is Rising a traumatised and rather distant character, old beyond his years with the weight of the universe and destiny on his shoulders. I continue not to be a fan on ‘chosen one’ kind of thematics.

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