Remember this number, it is a very important number; your understanding of life may depend on it.
153 584 175
Inception is a 'Summer Blockbuster' film about planting ideas in a person's head. In the case of this grotesquely irrelevant narrative, it's a James Bond-like bit of industrial espionage; get a son to split his dad's world famous company in two and give the competition an edge in one specific market.
I mean, come on this sort of industrial espionage happens all the time. But don't think too hard about that, what's important is that number. Remember?
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Remember how they advertise utterly trash products on talk radio.
Remember how really awful pop records tend to grow on you.
Remember how billions of people around the world are finally convinced that Rapture is a good idea. It's all done by the Three R's.
Repetition; repetition: REP E TIT ION.
There were scurrilous claims that the James Cameron film AV AT AR was responsible for a sense of general malais or suicidal thoughts in viewers upon leaving the cinema, wanting to return instantly to the Eutopian world of Pandora or some other such nonsense. For my own testimony, Avatar was a gorgeously rendered WAKE UP CALL to action to defeat the corporate war machine, but that's just me.
Invented in 1897 by AW Scripture, subliminal messages became controversial in 1950s films for their ability to persuade the viewer to want a hotdog or want a coke, both of which are GARBAGE FOOD. Now that these 'flash frames' are banned, Certificators need to be more aware of other psychological techniques used in Summer Blockbuster films such as Inception that may be 'suggesting', for example, 'complacency in the face of global governance' agendas. 3D movies should be the perfect mass-hypnotism tool, a different visual 'pattern' for each eye every 50th of a second 'could' set up intentional resonance (or attention) paths across an unwitting brain; back and forth, back and forth. Note: I didn't watch Avatar in 3D.
153 584 175
That number again, remember. It is very important. “Your mind is the scene of the crime,” remember that tagline? Well, it has nothing to do with the film, nothing to do with a crime and everything to do with YOU THE PEOPLE. Who, me? Yes, the collective you. The real Hollywood zombie. The seven billion consumers of planet earth. There are too many of you. Remember that, it's very important to the redundant plot of this mind crime.
153 584 175
It's getting more repetitious now, isn't it; THAT NUMBER? But it's not too annoying yet because you're intrigued by this reporting device, if I don't reveal at least a clue soon, you're going to switch off. It's a very delicate balance. Well, keep a grip, because here it comes again.
INC EPT ION
is [a film about] the act of implanting an idea in the enemy's head. So, my friend, who had an interest in cinema, his favourite film is The Exorcist, came to watch Inception with me. But he didn't watch the film with me. He watched another film. The film in his own head. The film INCEPTION was always intended to bring out in the viewer, the real enemy.
My friend, whom I'd 'suggested' share this film with me, became the victim of CORPORATE INCEPTION. Later, still angry, in the pub, he told me how he was thinking of an ex-girlfriend and how he felt great remorse about the way they'd split up. This wasn't a positive, “I'll fix this, and move on,” affirmation. It was a negative. I must go back in time and stop this. Revelation. As I've said, my friend's favourite film is the domestic-horror-haunting film The Exorcist. And its power is that it slowly and seductively becomes YOUR BEST MATE. Personally, I noticed the classic hypnosis voice intonation, cadence and phrasing techniques within the first hour of Inception and was able to start cataloguing the crimes from that point on.
153 584 175
Remember that number one last time. It's relevant here because it's the abuse of a critical mechanism. It's a style of review copy that was completely unneccesary, much like the bad cast and the bad action in this film. And before you look at this review and go, “Leonardo De Caprio was a brilliant actor and his 'dream demons' added weight and tension to the twists and turns of the plot...” remember that the rest of the cast was NOT your average Ocean's Eleven mismatch of characters. For one, there were no characters. There was certainly no character development, as everything was hidden from each character as a setup structure of the film itself. And the big, beardy Indian guy, the Druggist. The paedo-inspiring Architect. The laconic Forger. And the sappy-looking side-kick. Were all out of place. They didn't belong there, a disjointed multi-rational resonance was being initiated. You were being put on edge by this jarring series of totems, your mind was already being manipulated, you were being broken down, shattered somewhat, so that your abused mind could be re-arranged around the clever editing and score of this unashamedly layer caked last hour.
Let me help you understand why YOU ARE ALL IN DAN GER when you watch this film.
As a figurative artist, in the late 1980s to early 1990s I had a series of one-man exhibitions of paintings that I dubbed 'psycho-realist'. What I'd do is, I wouldn't paint the moment, I wouldn't paint the detailed topology of an item or person, I'd paint an emotion, say, “What does it FEEL LIKE to really want someone there, right now, what would the intensity of that emotion do to the rendered subjects of the painting?”
I did this intentionally, as a way for me, personally, to explore the creative process; it had nothing to do with you, the viewer. But I'd stumbled upon something quite strange. By illustrating my emotion in such a blatant way, for purely egotistical or therapeutic reasons, I'd unleashed the demon; YOUR DEMON. Many is the time I'd have people come up to me at exhibition opening and tell me the story of this painting, what this painting meant to them, and they were very detailed stories that related back to some unresolved emotion they had about the way their life may have gone. This story had NOTHING AT ALL to do with anything I'd painted into my image, and everything to do with their own input into the reminiscence – it's like I'd PLANTED AN IDEA in their minds and they were re-running that slice of their emotinal lives back at me.
But you can't go back, you can only go forward. Unless. Unless you kill yourself. Yes, it's true, if you're in too deep, like the cardboard cut-out characters in this film, you always have a way out. Kill yourself. And I'm thinking, “Did Bill Hicks write this movie?” no Christopher Nolan wrote this movie. Setting aside the fact that film-making is a group effort, a corporate conspiracy against your the viewer, let's say. It's the dethreading of narrative timelines later in the film that give away the real inception of this film. For example, why did the Architect suddenly lose her ability to invent a way out of any maze? Why was she, once she'd commited to the hair-brained inception fraud, so powerless to change the outcome of the endeavour?
THE RAP TURE
Remember that number. You know that 153 584 175 (numerically, on the 'Cheiro' system of numerology) spells INC EPT ION. Maybe you didn't even pick that up in the review copy. Go back. Have a look at how you got here, to this point in the review. Go back. Remember how corporate advertising works. The de-threading of the film gives the game away. There is no dream, only physical manipulation, and that physical manipulation onscreen involves a falling van. That physical manipulation onscreen involves a cellar. That physical manipulation onscreen involves a rhythmic pounding crescendo that builds over the last hour of the film as time is allowed to run slower and slower, it's like your heart is being coerced into stopping. Your heart is the heart of all the people watching this film. Remember, the heart was the thing the Aztec people queued up in their thousands to sacrifice to their sun god.
And that demanding repetitive soundtrack with a low, deepky rumbling claxon that sounded (to me) a lot like a fog horn: a FOG OF WAR horn?
Don't live in denial is what this film is saying. And you're thinking, “Great it's going to unveil the corruption of global finance,” but it doesn't, it pulls a cunning magicians sleight of hand trick on You The Viewer right up to the end. It suggests to you, “Don't worry that society is crumbling. Remember your social programming. The real way out is. The. Rapture.” Let your God take you away from all this turmoil, this trouble, this confusing strife. Trust clever old Hollywood to give you all the brain-washed answers. Surely, that's what this Tavistock Institute 'social structuring' industry exists for, right?
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INC EPT ION
Feel safe yet?