Origin (2010) of Christopher Nolan is a rare film of balls in the right direction , a film that surprises and overwhelms thriller and expectations. A film that seeks to raise the base voltage of reshaping the conventions of a genre , even if it means overdone at times due to excessive doses of transcendence, perhaps dispensable in a film that from the outset, just looking to entertain and dazzle. James Joyce did with Ulysses (1922) turn the sock of the nineteenth-century novel (anchored for decades in the third person narrator) betting on subjectivism and matching narrative with view . However, not content with being the father of this revolution and wanted to go further: in 1939 published Finnegans Wake, where he carried his love of games words and the narrative subtlety to the very limits of the significance . The novel's title is now synonymous with complex work, the end point of a strange literary career marked by renewal and formal experimentation. It is customary in the art world: when there is an innovation which crystallizes in the audience and its success makes others follow its lead, its creator feels a kind of need to demonstrate that he knows better than anyone the keys to his invention, and launches into a creation that involves one (even two) twist to the use or significance of the new resource, so it is thrown by unknown roads so far that the other has trouble following his wake. Very similar is the case of David W. Griffith : after setting in The Birth of a Nation (1915) a model of cinematic storytelling (nonexistent until then), compiled from contributions from other contemporary filmmakers, suddenly moved with his fifty boxes next film - Intolerance (1916) - causing atrophy of the recently established system .
Nolan burst at the time the billboard with Memento (2000) a curious story about memory that has the distinction of being told backwards, so as to break all the causal links, we can experience the same disorientation that its protagonist. The film succeeded as a thriller as radical and innovative contribution to cinematic storytelling, as it seemed that in his next work - Insomnia (2002) - try to take advantage of the finding, but it crossed staff and critically acclaimed Batman saga ( The Dark Knight (2008) is considered the best movie of the past decade) and seemed that the momentum had been renovating background. As usual, the industry gives creative freedom when it has been demonstrated based solvency blockbusters, and this time it appears that he has finally reached Nolan, who has felt the need - like Joyce and Griffith - to overwhelm fans - Satoshi Kon Paprika in (2006), with which Source many similarities - and imitators - Gaspar Noe and controversy Irreversible (2002) - - with an exercise in virtuosity that, taken out of context, can verge on the grotesque and mannered.
Source is pointed - like style titles Total Recall (1990), The game (1996) or Open Your Eyes (1997) - the game of the veracity of the images , making the audience doubt if they match dream or reality, the more visual you have found the film to mimic the unreliable narrator in literature (the other is the multiple-often exclusive - narrative point of view). Best of all is that, despite the complexity of their arguments, the average viewer is not lost on Nolan's films (another thing is that many details will be overlooked, including those that are directly fault the script) thanks to its clear and direct style. This time it comes to building a world as its own laws, just and necessary for the end of the film is a real spectacle and stories nested assembly . The levels 3, 4 and 5 are not the most suitable, or that are too far-reaching, but the idea of \u200b\u200bmixing as it does, especially present and condense them temporarily, is brilliant and hypnotic, and I find it fascinating .
Finnegans Wake, Intolerance and Source not stand out precisely because of its quality story-indeed, opacity, blending Baroque with prudish moralizing or eccentricity are its keynotes. is clear that other thrillers arguably exceed the Origin , with twists and turns better locked, but it is undeniable that behind Nolan's work, an ambitious project similar to artists like Orson Welles . In that sense Source remain by your contribution narrative. Joyce set out to blow up the axes of the conventional novel and replace them with brand new, Griffith discovered that the cross and the careful collation of four events - culled from world history - can rise to a moral, kind movie "thesis" (rather paternalistic and conservative, on the other side). Nolan, meanwhile, has picked up where he left and Intolerance, instead of deepening the meanings set of alternate mounting itself, explores the possibilities of narrative nested, each contained in another higher forming recursive levels, supported by the film for the spectacular, the action scenes and special effects (the Trinity of the blockbuster movie sucks).
Once the viewer gets to relativize some of the grotesque consequences of certain assumptions plot of Origin (of the chemical and den 'dreamers' is pathetic), can enjoy without complex than it is: a real cool features film, a curious experiment, an unexpected discovery. And beyond a very good time to film, a milestone that should take into account who take the challenge to revolutionize not only a story, but the foundations of cinematic storytelling.
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