"Geniuses" 
dreams of a genius not necessarily have to be a genius. Fewer still are the dreams of those who consider themselves as such-a genius-not, objectively, be, and does -dream-or presumed it to be consistent with the impressions he has sown in those enrolled in their worship . Cinematically geniuses who dream and make your stuff smaller works have been many, megalomaniacal geniuses are created or start to believe it has been many more. I sleep here, we clarify, we use it metaphorically to talk about movies, calling that figure a little kneaded so that the film is objectified and sleep a bit to get in tune with that movie runaway ambition of genius conceived by someone who begins to believe, yes, a genius ... with big dreams. In other words, someone who begins to show alarming signs of delusions of grandeur: The origin (EU, 2010), Christopher Nolan.
Following the logic, Nolan has dreamed that dream of certain people for their dreams, so help me the trestristestriguismo - multiply in a progression most abysmal and that its proposal maintains, or seeks to maintain the original formal finish , bold, half way between cinematic art and videoclipero neobarroquismo shields; appearance, because we talked film appearances so as not to disappoint the spectators started (cinephilia "exquisite") and seduce viewers formed under visual paradigms (the Jonze-generation-plus Cunningham, Gondry who leave come, including stylish fantasies of Matthew Barney, and video games). Of course, Nolan's genius for his film, his dream is therefore not, or should not be - for anything because she has raised a dream world (is reminiscent dream world but virtual Matrix), Freudian terminology and symbols as a basic introduction to psychoanalysis (in talks that line self-parody by a solemnity unsustainable), impostadísima tragic dimension to the (anti) hero unit (the one who believes DiCaprio still travel on the island Shutter-EU, 2010 - Martin Scorsese), and exotic underworld of film noir classic. But this, to be honest, seems to be an alibi, a great alibi of an arrogant filmmaker who refuses to see his film as a basic argument, in spite of its pretentious premise, in line routine and overwhelming any action movie, with persecutions and infinite number of shooting that would pale in comparison the latest Rambo (Stallone, USA, 2008) if not for the absence of hemoglobin.
We will not deny that the film has its moments, especially visually. And we will not deny nor to Nolan as a filmmaker more than estimable (mainly Memento / 2000 The Prestige / 2006 and The Dark Knight / 2008). But at the end to see The origin not remember avoid New York on stage (2008), similar in more ways than one, of that other writer / director, Charlie Kaufman, that it itself has always played a genius with great ideas but only lo crean él mismo y sus apologizadores (digo, no extraña nada que para su debut tras la cámara haya escogido como título la palabra-figura-concepto ¡ Synecdoche !). En ambos casos la impresión/idea pretendidamente “inoculada” es la misma: “somos genios y soñamos a lo grande”. Uhm!
A manera de epílogo: Quizá pecamos de reduccionistas, pero esto de intervenir los sueños de los personajes en una ficción para transformar, aquí sí, radicalmente su consciencia ya lo había hecho en otro registro, más modestamente y sin tanta sobreescritura y giro abismal Wes Craven Freddy Krueger with ... incidentally.
(Joseph Abril)
