Spoilers ahead, I suppose.
OK. So. We’ve got Cillian Murphy’s character, and Leonardo DiCaprio wants to get into his dreams to convince him to break up his father’s company. Awesome. And to do it Leo and his team sedate Murphy on a flight from Sydney to Los Angeles.
Now, at the end when they land in L.A., the Australian flight attendant asks the passengers if they need immigration forms (this is actually an I-94, and I’m pretty sure flight attendants don’t refer to them as immigration forms, but whatever). Murphy takes one, so clearly he’s not American. And when Leo returns his passport to him earlier in the movie, he hands him what looks to be an Australian passport.
So is the target of the whole inception plan an Aussie? He sure doesn’t sound it! Murphy’s accent sounded nondescriptly mid-Atlantic to me, though I wasn’t exactly paying attention and he doesn’t spend that much time talking in the movie anyways. (Most of the time he’s running around and looking confused.) But his father died in Sydney, and we’re told he makes the flight from Sydney to L.A. every few weeks, so it sounds to me like he’s one of ours. Maybe he’s an Irish immigrant or something whose globe-trotting business activities have mellowed his accent into what we hear in the movie.
If so, thanks for bringing down a great Australian business empire, assholes.
(Related question: In Finding Nemo, why are the sharks and the birds Australian but the residents of the Great Barrier Reef American? IT MAKES NO SENSE.)
As for the actual “mystery” ending of Inception: Well, it doesn’t matter does it?
Even if it might make the preservation and transmission of particular pieces of music more difficult, I would still prefer a version of musical discourse based on the barter that is individuals constructing, comparing and negotiating their tastes than the central banking system represented by the canon. Of course it is as impossible to have a world free of the canon as it is to have a world in which everyone agrees with the canon - but it is possible for intelligent adults, once they’ve got away from the ‘starter kit’ use of it, to avoid using the canon to back up their arguments about musical value, I think.
As for the thing about personal taste, I dont think it’s a mystical argument. The canon does not have to back itself up - it is an abstract, as you say. This means that a referral to the canon is shifting the terms of an argument into the abstract, where I don’t think it should go - it’s a cop-out if you like. Complaining about the canon is also dumb on these terms, of course, like complaining about the top 40 - nobody actually likes the entire canon or the entire top 40.
Tom (via 67752)
I’d have to think about how much of this I still agree with, but blimey I was lucid before I had kids.
This is great. I suspect canons are necessary evils in that they need to exist for a form of music to have an awareness of itself, but once that has happened, they should be disdained as quickly as possible.
Like the auteur theory; it was useful in that it got people to treat film as serious art, but once that had taken hold it was necessary to junk the theory as the rather meaningless idea it was.
We’ve said before that I’m not a comic books guy, but I’ve loved a Batman movie, and, I suppose, enjoyed two of them. Also, I’ve read The Dark Knight Returns.
And if I think about Batman long enough — just to show how much of a nerd I am — I always start to think; yeah, well, you know who he wouldn’t stand a chance against?
Like, freal. What’s Bruce Wayne going to do, heavy the corner boys? Ask them who they report to? You snitch to Batman I’m pretty sure you’ve got Snoop and Chris Partlow paying you a visit. And if Omar couldn’t take out Marlo I’m pretty sure Batman couldn’t.
Batman might terrify Gotham, but he’d be wildly ineffective in Baltimore.
Really, this post is more about me being a liberal than it is about me being a nerd.
Until mankind is peaceful enough not to have violence on the news, there’s no point in taking it out of shows that need it for entertainment value.
Cher Horowitz, Clueless (1995)
This is probably the smartest thing that’s ever been said in a ’90s teen comedy. And I’m pretty sure loads of smart things have been said in ’90s teen comedies.
(It also applies to music as well.)