In the evening we at last got to see Christopher Nolan’s  Inception, our summer treat. This is a tour de force, up there with Lynch’s  Mulholland Drive. Di Caprio is brilliant. His forte is clearly the tormented individual but he is going to have to be careful, this film coming hard on the heels of Shutter Island, that he doesn’t become typecast in dream-within-dream films. In its own way, this film is as referential as Castle in the Sky (see previous post), and it seems it is now de rigeur for Hollywood directors to splice in homages to the cinematic greats (and to great cinematic moments). But this is one of those films that is not only brilliantly acted and brilliantly filmed but also brilliantly edited. Apparently, Nolan had been interested in such a concept, of dream-stealers and dream-manipulators, since he was sixteen years old and the risk with such long-term projects is that they become over-written and over-wrought. But that is not the case with Inception – a film with a plot that is, thanks to Nolan’s clever editing, truly what you choose to make of it. And, unlike Shutter Island, there is no POV problem because any point of view is possible. Great fun!