More than just a director: Christopher Nolan (4)
“A film should enable the viewer to gain a new perspective on their own life.” C. Nolan
Following began by drawing a frame between the young aspiring writer and the Detective (played by Uncle John Nolan), and then our hero leaps between three time periods at the beginning of his journey; another time when Cobb imitates his cold demeanor and control, and a third when he realizes he has fallen into a trap and tries to understand that he is being manipulated. Although the film maintains visual consistency in black and white, Nolan makes it easy for us to distinguish between the time periods based on the appearance of Young Man.
In fact, the main reason for the film being in black and white is economic. Nolan didn’t have a budget for lighting, and if you’re going to shoot a film without lighting, it’s wiser to shoot it in black and white.
While the film constantly jumps between three different time periods, it also deepens the characters and builds the story.
Playing with time is a brilliant invention to keep the story alive. However, unlike Memento, Inception, Interstellar, or Dunkirk, Following is not really about a lie as comforting as time. What makes Following appealing is that the protagonist is a writer who doesn’t realize the story is being told. The film is almost like a mission statement against thoughtless voyeurism, a cautionary tale. At the beginning of the story, the Young Writer is more interested in the rules of following people than in the results, even though he uses the excuse of writing, he never writes anything. Instead, he quickly becomes a pawn in Cobb’s game.
Although Cobb is the “bad guy” in the film, you can see Nolan’s admiration for this character. This villainous character is not only knowledgeable and well-dressed but also a creative mind. While the Young Writer dreams of plotting and being creative, Cobb (the only character with a nickname) actually does it actively in his life and in the lives of others, whether it’s making a couple believe their spouses are unfaithful or creating a great story to cast doubt and ultimately blame on the Young Writer. At the end of Following, when we realize that Cobb is lost in the crowd and that the Young Man has fallen into every trap, a dark tone is set, but there is also a perverse victory. Cobb is untouchable because he directs the story rather than submitting to it.
This obsession with control, and its glorification, is a recurring theme in Nolan’s films, and the loss of control or the deception of control is treated as a sign of weakness. Rarely does a character in one of Nolan’s films surrender to the unpredictable, and if anything, they actively resist chaos. Even a character like the Joker, who describes himself as an “agent of chaos,” is a meticulous planner who is always two steps ahead of our heroes. Essentially, until Dunkirk in 2017, there is no survival act in Nolan’s films that breaks the boundaries of control. As Nolan ages, he slowly pushes himself to learn to let go (as seen in Interstellar), but in Following, this is the downfall of the Young Writer. He thinks he’s in control by following, but he never really has control because, by definition, he’s a follower, not a leader!
After watching Following, when we think calmly, another striking point is that Nolan had already mapped out his ideas so clearly in his first film. So much so that in one scene of the film, he even placed the symbol of his heart’s project on the door: Batman!
Some may argue that these details are not easy to notice, but in my humble opinion, these ideas form the basis of the rest of his filmography. Yes, there may not be deep layers like “dead wives” (or spouses), but Following contains elements that create the feeling of watching the same film in his subsequent works, albeit using time, identity, and control in different ways.
Nevertheless, it is essential not to forget that Nolan is also the producer of his own films. He determines the budget of his films and manages the expenses himself. For example, before shooting Interstellar, they rented a cornfield and planted the corn themselves. Or in Tenet, they bought and later sold real gold bars because they wanted the gold in the film to be real.
In short, when analyzing Nolan’s cinema, we should not only focus on his directorial aspect but also consider his production design and budget mastery. Concepts are Nolan’s starting point, and he builds everything from there. Perhaps if he couldn’t find the money, he would always remain in the “noir” genre and continue to explore new features with a new feature film focused on time, identity, and control, who knows?
In interviews, Nolan often emphasizes his passion for the filmmaking process and sees cinema as both an art form and an entertainment medium. His commitment to practical effects and the use of IMAX cameras reflects his belief in “real” filmmaking in an industry dominated by digital effects.
Nolan also pays attention to details at every stage of filmmaking. He meticulously works on everything from the characters’ motivations to the progression of the story, visual aesthetics, and music and sound design.
In conclusion, Christopher Nolan is one of the most influential and innovative directors of modern cinema. His films are not only entertaining but also thought-provoking and challenging. The world of cinema has been enriched by his visionary approach and storytelling mastery.
Finally, from the moment Following premiered, we witness a significant rise in Christopher Nolan’s career. The film celebrates the birth of a new cinematic talent that has shaken people’s minds with its films, inspiring complex and unpredictable narratives.
There is an interview with him about this film here! I also benefited greatly from this video.
With a small shock, the industry collectively applauds and salutes this new filmmaker.
Press reviews are beyond expectations:
“Satanically clever!” Toronto Star
“Chilling… there is incredible skill in this film. You’re making a mistake if you miss it!” The Journal, Park City
“Intriguing… it pulls you in with breathtaking ease considering its concept!” Toronto Globe and Mail
“Short, sharp, and nail-like… it recalls tight, effective crime thrillers like ‘Detour,’ ‘Impact,’ and ‘The Hollow Triumph’… a good reason to get excited about British films again!” Ken Fox, TV Guide Online
“‘Following’ is destiny for a large following. A wonderful poison pill, a lean, plain mystery!” Thelma Adams, New York Post
“Devilishly clever!” Jami Bernard, New York Daily News
“Smart and sophisticated… slick, paranoid neo-noir!” Amy Taubin, Village Voice, New York
“Tense, well-plotted screenplay adds a real punch to it. It’s reminiscent of Hitchcock classics… but Nolan’s story is simpler and harsher than these suspense films!” Bruce Diones, The New Yorker
“Surprising… with an almost oppressive intensity… a different film noir!” Janet Maslin, New York Times
“One of the best first-rate, smart, ultra-low-budget productions offered recently ‘Following’!” Andy Klein, New Times (Los Angeles)
“One of the best of the year… a smart ’90s noir… intense, tightly directed, well-played… everything is skillfully and purposefully orchestrated!” Ernest Hardy, LA Weekly
“A tight, smart British neo-noir… made with almost suffocating intensity!” Kevin Thomas, Los Angeles Times
“An extraordinarily polished and confident first film, textually very clever and technically superior… signals the emergence of an important directorial talent!” Frank Scheck, The Hollywood Reporter
And hundreds of similar positive reviews encourage Nolan and Emma above all. Yes, they are on the right track and need to institutionalize quickly, or Hollywood will swallow them, they know!”
