Origin: The stairs of Escher led to the movies
Diverse events have delayed the delivery of this chronicle. But I believe that the movie Origin of Christopher Nolan well deserves to be on these pages.
Direction: Christopher Nolan
Script: Christopher Nolan
I distribute: Leonardo DiCaprio: Cobb
Ken Watanabe: Saito
Joseph Gordon-Levitt: Arthur
Marion Cotillard: Badly
Ellen Page: Ariadne
Tom Hardy: Eames
Cillian Murphy: Robert Fischer
Tom Berenger: Peter Browing
Michael Caine: Thousands
Dileep Rao: Yusuf
It photographs: Wally Pfister
Assembly: Lee Smith
Music: Hans Zimmer
Art: Guy Hendrix Dyas
Producers: Christopher Nolan, Emma Thomas
Executive producers: Chris Brigham, Thomas Tull
Producer: Warner Bros. Pictures, Legendary Pictures, Syncopy Production
Distribution: Warner Bros
Dom Cobb (DiCaprio) is the best of the world in the art of the extraction: to appropriate of the secrets of the just subconscious at the moment when the mind of the victim is more vulnerable: during the sleep. The strange Cobb skill has turned him into a man much coveted in the world of the corporate spying, but also he has condemned him to be an international fugitive, costing him everything what one day he has wanted. Now it has an opportunity to redeem itself and to have again the normal life for that he longs, but for it he and its team will have to realize the opposite to what they usually realize: the incepción, which consists of implanting an idea in the subconscious instead of removing it. Nevertheless its plan is complicated when a dangerous enemy seems to predict each of its movements. An enemy that only Cobb could see to come …
When one salts of the room after having contemplated Origin the first thing that occurs to one it is to exclaim something like: Woof, piece of movie that I have seen!
But have I her understood everything? Since I can make sure them that not, that there are things that escape from me and that without entering details, without alluding to the quantity of cinematographic references that exists along the tape (this thing that I have known later and that then I will leave a direction to them so that they consult it).
Any movie is a fiction, the opposite is the documentary or in a top level the reality. And when one goes to the movies it is going to see fiction. It is going to see these actors who redeem its role in a few natural or recreated stages. Since here, in Origin, the fiction is taken to the limit in a few grand oneiric recreations that we will take very much in seeing with this quality. And we add to this a solid performance of actors and actresses and have like result, not a perfect movie but but a movie more than advisable.
What counts Origin? So, finally, it counts only a love story (argument so old that it comes from the origins of the man with Adam and Eva: boy meets girl, boy likes girl – it can be on the contrary, eh-). Of course incardinada in an argument that takes as a main axis the Idea (that is like a virus that infects you and takes possession of everything) and the power of the subsconciente across the sleep and what is more important the power that would have the one who could be so much capable of inoculating an idea in the subconscious, as the power to be capable of stealing this idea of the mind. From here on it is a succession of events, of adventures after obtaining the love of its life.
Origin is a big movie. It leaves of the habitual scripts so trite that they are tiring, for it not to stop being an original and brave movie in its exposition. It is something complex, but it is not necessary to be afraid about her without comprising, enough to be attentive and to put five senses, why it has a few understandable laws of the game despite this complexity. And what more I like is that it is a work that he invites to the reflection.
To understand the movie, and perhaps to explain it, it would be to forget us a little of the rational logic and to resort to this image of Escher in which a stairs appears. In her it places two persons in the same stretch of stairs and in the same sense and one seems that it rises and other one that goes down. Or this other one of the cascade that seems that they are in the same plane.
The director has been able to recreate a few excellent stages that help to get into flour. They are beautiful and of big perfection. And in the key moments, full of tension, we feel the claustrophobic sensation of a closed ambience. There are beautiful the images of the city that closes on the proper city and also those of the weightless walks of the hotel.
Nolan seems to be obsessed in spite of spoiling the classic narrative structure of exposition, knot and ending, but in the end also this finishes with being fulfilled as it could happen with another movie of oneiric references as it is that of Mulholland Drive of David Lynch or the ludicrous one of Tarantino Pulp Fiction.
Since the movie begins at once we hear the Zimmer notes. Its stamp in the sound-tracks is unmistakable. And in this case, the specific gravity of the music, it obtains it, of splendid form, under this excessive gigantism of the proposal of Nolan; underlined by the song of Edith Piaf “Je ne regrettte laughs” (I do not repent of anything) that acts like catalyst to wake up the dreamers. There happens the circumstance of which the actress Marion Cotillard (Evil) is the same who interpreted not long ago Edith Piaf in “The life in rose” and that the Óscar cost him.
And since we speak about actors. All of them are more than correct, like that of a general form. If we enter detail of each of them, we can say: Hardy is a force of the nature to be born in mind, its presence on the screen works like a magnet: it attracts; Murphy (Cold Mountain, The young woman of the pearl) keeps on being a presence delightfully strange. Ellen Page (Juno), better that of custom, it turns out to be fragile, small and sensual. And the big performances take them on the one hand the girl: the beautiful Cottillard that has a difficult role since scarcely there recreates her own person but the projection that appears in the DiCaprio subconscious. And on the other hand the boy the one that likes the girl: Leonardo DiCaprio. Him despite the one who weighs him he is a big actor. I do not know if it is the one that chooses its roles or is its representative. Be who is he has been able to be right in almost all the roles of its career (with exceptions, skylight is). And here it appears like an actorazo. It is moderate, believable, acts and does not stroll for the screen. Very convincing.
Finally and for my taste, I have seen a big movie. A movie with beautiful images, of big visual force, which are to the service of the history. I have realized a trip to the tortured mind of its protagonist and have got lost in its labyrinthine head, have submerged in the oneiric thing and have returned to the real thing, sometimes, confusing it one with other, but I have been able to go out afloat and have questioned if what I have seen has been real or not. Hete here the quandary: the roulette in the end for: yes? or: no? A thriller science fiction, hypnotic, powerful, vibrant, notable, intense and intelligent, which he confirms that the commercial movies does not have to be silly and superficial.
The official web of the movie is very advisable since it has multimedia files.
If someone wants to investigate more on the movie or what goes a long way or the different references that this one has to other movies its linkage is.
To enter on the work of M. C. Escher its official web can be the best resource.
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