Following

We could easily describe Nolan’s black and white debut feature as the epitome of student films. It has the street energy of the French New Wave, the youthful vigor and attitude of Aronofsky’s Pi, a $6,000 dollar budget, and is clearly made with an experimental innocence. And it should come as no surprise, given the popular names among his oeuvre, (i.e. all of them) that Nolan’s first film marks his arrival as a legitimate filmmaking force.

We don’t have to look too closely to find evidence of his first film in those that follow. The altered chronology of Memento found its introduction here. Acquisition of the Batman franchise seems natural with the films momentary visual reference. The psychological exploration and uncertainty of Insomnia, The Prestige, and perhaps Inception, are actually nothing new. Having seen the director’s entire body of work, and viewing his first film last, it only makes sense that the black and white introduction would in no way be a muted commencement.

A writer in London follows unsuspecting citizens, aroused by curiosity and maintained by obsession. Yet in a matter of no time, one of his subjects calls him out, introduces himself, and in a matter of minutes takes the young man on as partner in crime. The houses they burgle, inspired by Nolan’s own experience with invasion, are staked out, studied, and carefully chosen. But the young man’s inexperience, naivety, and relative insecurity make him the perfect victim for an experienced criminal. We could almost predict that the storyline turn inward on us, the thief being but a figment of the young man’s troubled and creative imagination. Fortunately, that is not the case. When the writer returns to the crime scenes, in attempt to evaluate the victims’ reactions, he is met with an interest that trumps his initial trials in following.

The 1998 film exhibits the energy inherent in it’s low budget production. And to it’s benefit, feels much more natural and invigorating than a multimillion-dollar attempt would be. The twisting and confined stairways, shoddy buildings, textured back-alleys, and lively streets are far more suited to the passive and observant eye than to the imposing and intrusive demands that come along with big productions. At the same time, the inexperience of the actors and the occasional uncertainty of the filmmaker are combated by the perceived experimentation, by the established sense of learning, and by the achieved verisimilitude of what might or might not be a far-fetched scenario. We can almost see the struggling filmmaker, working week by week for a year, in the worried yet learning eyes of the young man. Where he is learning his new craft of deviance, so is Nolan learning his craft of storytelling.

Following, despite its simple premise, or perhaps because of it, is nothing short of great. It is an easily enviable inauguration into the world of filmmaking by a director that has since earned his place. The film also proves that Nolan has the ability to manipulate and create the story, or more precisely his telling of it, regardless of how many dollars he has to do so. Inception will come out in July of next year, you will certainly hear more about it soon.