Christopher Nolan: Setting the Story Straight
I can’t believe I have to make an article like this in 2020, but it seems like virtually nothing has changed when it comes to the divide between opinions on one Christopher Nolan. With Tenet finally being released around the corner — after many delays due to COVID-19 — we arrive once again at the discussion of the 21st century auteur, whose stature in a weird place seemingly has him over and under hyped. On one hand, he is touted as the greatest filmmaker ever by some. On the other, he is considered terrible by snobs. Dare I say he is neither? Let me try and figure out why he is being considered the greatest and the worst at the same time, because it appears even Nolan’s legacy is as complicated as the plot lines of his films.
First, let’s look at the “best”. Christopher Nolan is unquestionably a mainstream director, despite what his influences might be. If you’re asking common movie goers who are checking out the next Marvel films or blockbusters, of course Nolan’s works are going to stand out. If anything, they’re anti-formulaic, so they feel extremely different from films where the hero saves the day, obvious thresholds are visited, and other common ingredients found in successful features. For Friday night movie hoppers interested in whatever the flavour of the week is, Nolan may be the best director they know, especially if they’re the kinds of movie lovers that don’t necessarily research who is behind the camera. Naturally, one of a few has a huge chance of becoming the best of this small pool. Considering Nolan’s films are extremely successful and do, indeed, bust blocks, it’s safe to say that his name gets around very quickly, even with people who may not watch films at all.
Inception.
Now, let’s look at the “worst”. If you’re an arthouse aficionado who loves challenging works, Nolan may feel like the next coming of Steven Spielberg: the human bridge between film movements that jeopardizes the lengths that experimental or complexed works are creating. The deeper into cinema you go, the more Inception or Memento really aren’t that complicated as stories. However, why does that have to be a problem? Does not being the most difficult render a film automatically disqualified in likability? There’s also the Hollywoodization of arthouse that Nolan’s films can bring, and maybe that strikes the wrong chord for some. For me, I always credit effort, even if it’s with a filmmaker I don’t like; we see enough lazy films being made just for a profit, so why not champion new attempts? Besides, if Nolan — that’s Christopher Nolan — is the worst director you’ve ever seen, you’re either extremely lucky that you’ve only seen amazing films, have much to learn, or are just being sour grapes. Be realistic. You might not like the guy, but he’s far from a bad director by any means. I’m not really a fan of David O. Russell, but I’m not going to pretend that the guy is inept at making moving pictures. Taste is taste, not fact.
The way I see it, Christopher Nolan is a great director who is right smack dab in the middle of this spectrum that he has been posted on either side of. Not every film he has made is perfect, but they are all at least unique attempts. Maybe you hate how convoluted his plot deliveries of otherwise basic stories are, or how cold his characters can be, and that’s totally fine. He has a signature style that has worked for him, and many filmmakers have traits that feel authentically their own. You don’t have to like the guy. I just think a clarification is needed to be made, because Nolan has the unfortunate designation as a popular figure, which can be overly hindered by over and under praise. I appreciate Nolan’s creativity, and his ability to appeal to many movie going circles. I won’t lie and claim him to be my all time favourite director, but it’s insanely difficult to think of modern directors that have left an impact and created quality cinema and not think of him as one of the few examples. I see him as a great introduction to more challenging works for mainstream movie goers, and a refreshing twist on the usual slop that Hollywood shovels out far too often. I’m going to celebrate him either way, and await any new concept he churns out whenever he decides to.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.