Resurrinception

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Inception_ver3Like most profound movies, Inception keeps me coming back repeatedly. I’ve already written a post on how the Theseus and minotaur myth lurk deep within the labyrinths of this film, but upon my most recent viewing a new angle caught my attention. In the first level down into Fischer’s dream, when Saito is unexpectedly shot, Eames asks Cobb, “What happens when we die?” It could be the question of a child faced with a dead pet for the first time. Of course, Eames refers to death in a dream under sedation, and limbo is the closest thing to spiritual death that a person can experience. The timing of that question, however, triggered in my head the number of resurrections that take place in the movie. I have frequently noted here that resurrection is a standard part of the tool kit for western movies, particularly American ones. We expect resurrection. So, finally, three layers down, a dream within a dream within a dream (even Poe would be proud), Saito dies. He is lost in limbo.

Limbo is a fuzzy theological construct thought up by the church for those who don’t deserve Heaven, or Hell, or even Purgatory. Some, it seems, end up in limbo. In Inception limbo is unconstructed sub-conscious, an area even Freud would fear to tread. Saito dies and goes to limbo. Fischer, meanwhile, also ends up in limbo because Mal shoots him dead in the third-level dream. Mal is already in limbo because she killed herself in real life—or was it a dream? Cobb, of course, must die to return to limbo to retrieve Saito so that he won’t be arrested when the plane lands. In limbo, three of the four escape, riding the kick back up to consciousness. Only after baptism in the first level dream, when the van plunges into the river, do the lost souls emerge. What happens after we die? Resurrection.

I’m not suggesting that Christopher Nolan planted a Christian idea in the viewers’ subconscious mind. Resurrection is part and parcel of our culture. Perhaps, however, this helps to explain the durability of some religious concepts. We long for resurrection on such a deep—maybe subconscious—level that we want to see it on the big screen. Even ghosts, we’re told, haunt because of unfinished business. It is Saito, the Japanese business mogul, however, who undergoes the most resurrections. He dies in the van underwater, in the fortified mountain hospital, and in limbo (perhaps in the elevator as well, but this is uncertain). His is a regular reincarnation of resurrections. Inception, I’m sure, will keep me coming back for more. One of the questions that none of us escapes while alive, is that uttered at the level of the dream.

Persistence of Demons

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Although released in April, Insidious is a film for the long nights of winter. At least with my schedule of keeping up with a culture that is moving too fast, this feels like a reasonable rationale for having just watched it. I tried not to read reviews of the movie when it came out since I prefer to experience the thrills first hand when I watch a film. Like many horror movies, Insidious revolves around the supernatural. Specifically, Insidious takes on the specter of the afterlife. Unlike The Exorcist, the demon in Insidious is not expelled by a priest, but by a psychic, borrowing a few celluloid feet from Poltergeist. Adding a couple of ghost hunters to the plot reinforces the idea of the secular demon that so often appears in the learned discussions of the TAPS team as they tilt with unseen entities on SyFy.

In an increasingly secular society, the fear of the dead is very much alive. Even a casual stroll through Barnes & Noble (the only show in town now) will demonstrate the popularity of the paranormal. Somehow sitting in pews listening to a sweaty orator go on about what he (sometimes she) thinks God is wanting us to do has disconnected us from the realm of the dead. Paul Tillich famously declared that God is a person’s “ultimate concern.” In an age when technology is hovering on the edge of keeping consciousness alive forever, people wonder what happens to the self when the body dies. Call it soul, consciousness, mind, or personality, we can’t deny—no matter how secular—that something inside makes each of us unique. The myth of flying about with angels playing harps doesn’t match everyone’s expectation of an afterlife any more. At least some of us hope for electric guitars.

Insidious opts for a realm like Limbo known as “the Further.” This is a place we have been before. The hopelessly corny The Seventh Sign gave us “the Guf” as a now empty federal reserve of souls. The Greeks gave us Tartarus and the Zoroastrians “the place of worst existence.” No matter what we call it, our brains like to believe there is some place out there that we go when the biomass we drive each day finally hits the wall. Increasingly it has become a negative place where darkness reigns. Insidious’s “the Further” is a hopeless realm of the dead, acting out their evil intent. There are no angels, but demons abide. It seems that we’ve outgrown the concept that angels are watching over us, but we can’t escape the creeping sensation that diabolical entities are peering at us from the shadows. During these long nights of winter, Insidious invites us to take a journey to where there is no heaven, but hell is surely not hard to find. All we have to do is close our eyes.