I went to see Inception for a second time, in an IMAX theatre. Several things happened:
- I enjoyed it more this time than the first time. It really is a lovely-looking movie.
- I got to hear an even larger audience of people sigh frustratedly in unison at the final scene. I still don’t get this, by the way — once you see the REDACTED SPOILER THING, how can you not know what Nolan is going to do with that scene?
- I traumatized myself by thinking about what it would be like to watch Mysterious Skin in IMAX. (Giant hands on Joseph Gordon-Levitt’s skinny chest!) We watched that for the first time this week, and I’ll admit that I don’t understand its good reviews, either, much as I adore JGL; talk about movies structured as if they’re setting up surprising reveals when they aren’t.
I still don’t think Inception is a perfect masterpiece or even much of a mystery, but I’ve enjoyed thinking about it. If you also enjoy thinking about it, you might be interested to know that Hans Zimmer’s score is based on a slowed-down sample of the Edith Piaf song that’s so important to the dreamers (via Merrie Haskell). This is extra interesting to me because the Crystal Castles song that I mentioned in my last Inception post — “Violent Dreams,” the one that Zimmer’s score reminded me of — is also based on a slowed-down sample of a different song (Stina Nordenstam’s “A Walk in the Park”), as I discovered when I was googling it after seeing the movie the first time. Intriguing that the auditory landscape of dreams is slowed-down music, and that somehow my brain recognized that before I knew that Zimmer’s score or the Crystal Castles song had used that technique.
Other interesting (and spoilery) Inception links: the one about Cobb’s wedding ring, and the one with a bingo card for Christopher Nolan movies.