Tenet is the first film in which Christopher Nolan winks to the audience that he, too, understands what a Christopher Nolan film is.
How else to explain that John David Washington’s lead character is not just referenced as The Protagonist, but he describes himself as such at multiple points during the film. Washington’s mysterious, super-trained, probable CIA spy describes people he fights as ‘antagonists’ and positions himself directly at the centre of a narrative in which Nolan culminates everything you would expect from him as a director.
A high concept idea which glances toward the realm of science-fiction, mind-bending physics, powerful technology, concepts of futurism born from theoretical ideas, relentlessly thundering sound design and practical effects where possible. If Nolan appreciates he is making the most ‘Nolan’ movie ever, in contrast to Dunkirk which eschewed his penchant for dialogue driven escapism, then The Protagonist ultimately has a level of hyper-awareness core to his nature.
This is key to Tenet’s palindromic construction, one replete with a narrative that bends in on itself thanks to the fascinating, ‘Nolanian’ gambit of ‘time inversion’ or a level of reversed ‘entropy’. “Don’t try to understand it” suggests Clemence Poesy’s scientist early on, and that’s Nolan speaking to his audience. Just go with it. Allow the inversion to pull you along because it does, for the most part, make sense by the end.
Many will be telling you that Tenet is a puzzle box that leaves you baffled and while, granted, several rewatches might be necessary to get it all straight, as ever in a Nolan film the pieces are in front of us to be observed. His continued prestige, his belief that we want to be fooled, is the key to how he constructs his pictures. In this case, however, The Protagonist—as the inversion himself of an archetype—is clued into the game. He may not understand it all until the end but he knows, at least, that he has a role to play in the grand tapestry of the tale.
These constructs, and the sheer, epic, bravura joy of seeing Nolan weave everything together, is why Tenet is—Dunkirk’s side step notwithstanding—Nolan’s best picture since The Dark Knight.
Continue reading “Film Review: TENET (2020)”
Every great magic trick consists of three parts or acts…
So states Michael Caine’s Cutler in The Prestige, the fifth film by director Christopher Nolan, and to some still his best, almost fifteen years later.
The Prestige remains certainly the most intentionally tricksy of Nolan’s films; thus far a cinematic lexicon built on the cinematic puzzle box, built on an intentional level of enigma audiences must buy into if they are to become consumed by his pictures. This was evidenced all the way back to Memento in 2001, his first major film after 1998’s low budget impression Following, which subverts traditional storytelling structure to depict a crime mystery in reverse. Ultimately, however, Nolan’s films are often deceptively simple, and intentionally so. “Are you watching closely?” asks Christian Bale early on in The Prestige, as much to the audience as anyone else, and here’s the truth: if we are, we’ll solve the puzzle.
The trick in The Prestige revolves around three key elements. The Pledge, the Turn and finally the titular Prestige, all building to the culmination of the magic act being pulled on the audience. Nolan’s trick in this film is, of course, that the entire movie is one big ‘prestige’, and we are the stooges. “You don’t really want to know” Cutler tells us in the bookending monologue. “You want to be fooled” he suggests, and this may be true. The key slight of hand in The Prestige is clear if you’re looking for it. I contend, however, that this three act magic trick is, thus far, true also of Nolan’s entire career.
It is a trick he has already pulled off and it is entirely possible he’ll do the same thing a second time around.
Continue reading “Christopher Nolan has his own Pledge, Turn and Prestige”
Across the last week, since the release of his latest movie Dunkirk, much has been written about Christopher Nolan, as always happens whenever he puts a picture out. Nolan may be the most divisive mainstream, heavyweight filmmaker working in cinema today. Some believe he’s a genius. Some believe he’s Stanley Kubrick reborn. Some even believe he’s a rampant Conservative and his films are nothing more than ‘Tory Porn’.
You would do well, incidentally, to read the writing of my friend and super-talented pop culture writer Darren Mooney on Nolan recently, as its insightful, filled with wisdom and there’s every chance he’s not done on the subject yet, simply because the gaggle of voices weighing in on Nolan once again has reached fever pitch. Is Dunkirk a masterpiece? Or is it yet another piece of super-overrated cinema from a filmmaker who can’t see past his own delusions of grandeur? For me, it’s the former, but this is coming from someone who has always considered Nolan to be, if not the greatest living cinematic auteur, then at least among the top five.
What interests me is the accusation he is a Conservative filmmaker when a titanic weight of evidence suggests quite the opposite. Do read the above linked article with the accusation, much as partly I’m loathe to link to it – despite having been written by someone very pleased with their prose, someone with visible disdain for modern film criticism and a level of bitterness toward politics in general, it nonetheless outlines an argument with a level of brevity.
Frankly it’s not a piece worth dwelling on and picking apart because some of the arguments are lunacy, but what it does is raise an interesting question: just where does Nolan, and his films, stand on the political spectrum?