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Literature Commentary: Barnaby Rudge

Chances are you’ve never heard of this book. I hadn’t either, until I was browsing the Dickens section of my local library and ran across a volume I’d never seen before. Curious, I decided to see if it was up to the standards of his other work. And I am happy to report that yes, it is. It makes me wonder how many other “undiscovered classics” are lurking out there in the jungle of obscurity.

The plot of “Barnaby Rudge” hinges on the English anti-Catholic revolts of 1780, although the story actually begins several years earlier. It revolves around three primary characters: the eponymous Barnaby (a kind, albeit slow-witted, young man), Joe Willet (the romantic, idealistic son of an innkeeper) and Edward Chester (a bold young nobleman, and the son of a decadent London politician). Their lives, and the lives of those they both love and hate, are woven together into a single tapestry of mystery, romance, and danger.

The story opens at the Maypole Inn, on the twenty-second anniversary of a violent murder at the lordly Haredale estate. A mysterious dark rider prowls the countryside, seemingly linked to the victims in some strange way. But young Edward Chester isn’t afraid of any specters – he has vowed to see his love Emma Haredale, niece of the murdered man, regardless of the cost. Assisting him in his efforts is Joe Willet, the son of the Maypole’s owner, who bears a secret affection for the beautiful Dolly Varden, daughter of a London locksmith.

Unfortunately, fate deals the four lovers some cruel blows.

As Mr. Haredale (Emma’s father) and Lord Chester (Edward’s father) scheme to separate their two children, Joe and Dolly must contend with the sinister attentions of the servant Hugh, who is somehow connected to the grim horseman traveling throughout the countryside. To make matters worse, anti-Catholic feeling in England is reaching a fever pitch…and an explosive conflict appears imminent. All of these conflicts somehow touch the lives of Barnaby Rudge, a simple-minded young man, and his careworn-yet-loving mother. And the roles they play in the climax of the story are anything but predictable.

The magic of Dickens lies in his ability to craft characters that are both realistic and archetypal – individuals with recognizably human characteristics, who still manage to embody certain distinctive concepts. For example, the two romances in the story both parallel and contrast one another: both involve noble young men pursuing virtuous young women despite obstacles, yet the relationship between Joe and Dolly is much more emotional than the love story between Edward and Emma. This is entirely intentional: Edward and Emma are represented as pragmatic and level-headed, while Joe and Dolly fulfill the roles of the story’s everyman and everywoman. All of Dickens’ characters, however, are vivid and relatable.

As is the case in all his books, the villains are especially memorable. The revelation of the dark rider’s identity is a chilling twist that lingers long in the mind, leading to some particularly interesting situations toward the end of the novel. Lord Chester is perfectly portrayed as a cunning puppet-master grown fat (literally and figuratively) on the misery of others. It’s a solid cast of characters that rivals that of “Oliver Twist” or “Great Expectations” for its sheer breadth and depth.

Interestingly, the story doesn’t focus much on the roots of the Catholic/Protestant struggle. This book isn’t about ideas so much as it is about people and their motivations. (Dickens does a masterful job of dealing with more abstract-issue conflicts in “Hard Times” and “The Old Curiosity Shop.”) I would’ve liked to hear a little more about the moral dilemmas faced by leaders on both sides of the issue, but that isn’t the point of the book…thus it’s not a particularly disappointing exclusion.

If you like Dickens’ books, you shouldn’t miss “Barnaby Rudge.” Most fans of English literature have probably enjoyed “A Tale of Two Cities” “Oliver Twist” “Great Expectations” or”David Copperfield,” but a huge chunk of Dickens’ work has slipped under the literary radar. It’s not exactly short at 750 pages, but that’s pretty standard for a Dickens work of this complexity. “Barnaby Rudge,” like many of the author’s other little-known works, is a sweeping, dramatic read that most classics fans should enjoy.

VERDICT: 8.5/10
An exciting, epic masterpiece from one of England’s greatest writers.

 
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Posted by on August 3, 2010 in Classic

 

Movie Review: “Inception”

Prepare to be blown away.

“Inception,” the new sci-fi/action film from director Christopher Nolan (also responsible for “The Dark Knight” and “The Prestige”) is a stunning, mind-bending masterpiece that surely ranks among the greatest thrillers of all time. It’s a dark, multilayered odyssey through the human mind that defies description, and must be experienced to be properly understood. It works on every conceivable level – as an explosive action movie, a psychological drama, an innovative science fiction film, and a tragic romance.

In the not-too-distant future, technology has been developed that allows multiple individuals to experience the same dream. While the underlying structure of the dream is controlled by one person (the Architect), other people populate the dream with manifestations of their subconscious, or Projections. And Tom Cobb (Leonardo DiCaprio) knows exactly how to exploit this system. He is a mercenary thief of ideas, a corporate espionage agent who specializes in invading dreams and extracting vital information. However, his greatest challenge is to perform the opposite task.

He must infiltrate another person’s mind and plant an idea there.

Business tycoon Saito wants to break up an energy empire, in the interests of promoting competition. He hires Cobb to insert an idea (the concept of dissolving the conglomerate) into the mind of young Robert Fischer (Cillian Murphy), the incoming owner. This, unfortunately, is more difficult than it would appear – in order for the idea to take hold, it must appear to have come via inspiration, not suggestion.

Cobb and his team promptly set to work devising their reverse-heist operation, with some help from Ariadne (Ellen Page) a remarkably skilled dream Architect. Their plan – to lure Fischer further and further into a web of nested dreamscapes, while subtly planting the germ of an idea. But unfortunately, Cobb is struggling with his own inner demons. Torn by guilt over the loss of his wife Mal (Marion Cotillard), he produces subconscious images of her in the dreamscape, leading to disastrous effects. (It sounds extremely complicated – and it is – but everything makes much more sense in the context of the film itself.) The result is an explosive, heart-pounding adventure story that blurs the lines between illusion and reality.

For starters, this movie has sky-high production values. Just as in “The Dark Knight,” director Nolan has created a fully developed and utterly believable universe. (Word has it that he spent 10 years writing the screenplay.) The often-jaw-dropping CGI effects enhance, rather than undermine, the overall character of the film. It’s perhaps the only movie I’ve ever seen where the destruction actually serves a legitimate purpose in the context of the story (as an individual becomes closer to waking up, their dreams become unstable and start to collapse).

The acting is equally stellar. DiCaprio is perfectly cast as Cobb, effectively portraying a mercenary, tortured soul. Ellen Page is a superb Ariadne, conveying a sense of innocence and conscience throughout the entire film. And in perhaps the most striking performance of all, Marion Cotillard appears as Cobb’s guilt-induced projection of his dead wife. The disturbing aspects of her character, in many ways, are mirrors of his own inner turmoil, which manifest in the dream environment. (It’s worth mentioning that most of the other characters, while remaining fairly peripheral, aren’t relegated to cannon-fodder roles.)

But the story is truly the heart and soul of “Inception.” It’s an intricate metaphysical labyrinth that requires some serious mental effort on the part of the viewer to understand. As the plot progresses, countless mysteries and subplots unfold – including some disturbing revelations about Cobb and his past discoveries in the dreamworlds. “Inception” is, quite honestly, one of the only movies that has actually kept me on the edge of my seat wondering what would happen next. Although the film clocks in at nearly 2 ½ hours, I found myself wishing it didn’t have to end.

This movie questions our understanding of reality – a philosophical turn that certainly lends itself to worldview analysis. For the most part, “Inception” steers clear of addressing faith issues, instead preferring to concentrate on secular psychology. The dreamscapes are not affected by an individual’s underlying moral values, but only by thoughts, emotions, and memories. Personally, I would’ve been interested to see how the dream environments could be restricted by someone’s fundamental values – or to put it differently, whether certain actions would be off-limits inside the dreams of someone with strong moral convictions. But maybe that’s just me.

On a different level, “Inception” is a cautionary tale about the seductive nature of power. A constant risk for the dream-travelers is that they will become so engrossed in their own creations that they lose touch with reality altogether, and can no longer differentiate between the dream-world and the real. Within the dreams, the Architect of the dreamscape enjoys godlike powers to create and destroy – and it can be awfully tempting to try and avoid waking up altogether. Essentially, “Inception” warns that when humans attempt to embrace to divine power, they eventually end up destroying themselves.

Other worldview or religious elements are pretty much absent. This movie is focused on minds, not souls (possibly to reflect a secular humanist view of mankind, but more likely, to appeal to a broader demographic.)

Objectionable content is mostly found in the form of constant, jarring violence that occurs in the dream environments. (There are a handful of swearwords thrown in, but, refreshingly, no sexual material whatsoever.) In the context of the film, these fights are not “real” – they’re between defensive Projections of individuals’ subconscious minds. Few “real” people end up getting injured, although scores of Projections are shot, blown up, crushed, and burned. Viewers will also wish to be aware that in order to awaken from a dream state, an individual must “kill” himself or herself. The resulting suicide subtext is unsettling and at times, disturbing. This is not a movie for young children – they will likely not understand it, and will be seriously bothered by parts of the film.

So, should you see it?

If you’re looking to switch off your brain and simply be entertained, “Inception” is absolutely not for you. This is a movie that requires work to understand, and there are several confusing moments throughout (especially in the beginning). Anyone disturbed by psychological thrillers will also not enjoy this film.

But if you’re willing to put in the effort to try and understand Christopher Nolan’s world, the result is nothing short of spellbinding. “Inception” is one of the best movies I have ever seen, and certainly worth watching. Highly recommended.

VERDICT: 10/10
I’ve never given a movie a perfect 10 – until now.

Normalized Score: 9.2

 
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Posted by on July 17, 2010 in Thrillers