Haiku and Review: Inception

Floating and bundling
a stack of sleeping bodies
Only in a dream.

We caught the matinee of Inception at the NYC AMC Loews in Lincoln Center yesterday, to watch the movie in real IMAX format.  The marketing folks have done their job, because it’s been a long time since I’ve been this drawn to see a film.

By the way, I’ll be talking about the plot of the movie quite a bit here, so if you don’t want to be spoiled, stop reading…

Maybe it was all the various temporal trickery that’s discussed in the dream-within-a-dream mechanics, but I couldn’t believe how quickly the two-and-a-half hours passed by.   There’s nothing quite as satisfying as surrendering yourself to the big screen to the point where you lose track of time.  Even though Inception details a fair amount of exposition via Ariadne, it also has plenty of action to keep it chugging along nicely, and as a popcorn movie, it succeeds brilliantly.

My first gut reaction was astonishment, astonished that Christopher Nolan was able to get funding to make a blockbuster with brains.  Inception is not as complicated or ingenious as Memento (and therefore ultimately not as rewarding), but how in the world did he convince the producers to drop that much cash?  Of course he’s proved his big-budget chops with the two Batman movies, but still, major kudos.

There was lavish praise heaped upon the film before it even opened, and though some of it is justified, I feel that the accolades were also a by-product of the terrible movies that have populated the theaters this summer so far.  Because as interesting and creative as Inception is, I didn’t feel knocked out by it, unlike some of the previous films that traveled similar territories: Dark City and The Matrix.  But those movies didn’t have the hype machine working overtime, either, so there’s the expectation factor to consider.

Still, I’d take a single Inception over a thousand Transformers any day.

Favorite part of the movie: Arthur’s floating sequence in the hotel, where he ties up his sleeping compatriots in preparation for the “kick.”  More than any other part of the movie, that bit seemed so utterly dreamlike.

Unintentional recall of another film: When Cobb lets go of Mal, I was reminded of the scene in Titanic, where Rose lets Jack go.  I guess it was Leo’s turn to do the letting go this time.

Unintentional recall of a TV show: The final scene with Fischer and his father, which takes place inside the vault, reminded me of Star Trek: The Next Generation’s holodeck in its deactivated state.

Minor linguistic complaint: I’m a fan of Ken Watanabe, but his accent was difficult to decipher at times.  The funny thing is, he had a large part in The Last Samurai, and I don’t recall having trouble understanding him at all back then.  Did he have a better dialect coach for that movie or something?

Congenial ambiguity: In all the forum posts I’ve read, the reaction has been remarkably similar.  When the film cuts before the top stops spinning, there were light chuckles all around our theater, too.  Why is it that people didn’t rage against the ambiguous ending, like the way so many did when The Sopranos silenced to black?  Is this good or bad?  You can take it either way, I suppose.  Perhaps the audience didn’t care enough about the characters or the movie to have a strong reaction.  Or perhaps they were content with not knowing, happy to leave the theater with a question mark.  Whatever the reason, I love the idea of all the people exiting the shared dream of the movie’s fiction with satisfied smiles on their faces.

Two Upcoming Events, Plus Paperback Cometh

In five days, the paperback edition of Everything Asian will be hitting the shelves.  Pick one up!  Tell your friends!  And if your friend is Oprah, be sure to give her a copy!

Anyway, back to reality.  Tomorrow I’ll be visiting the West Windsor Library in Princeton Junction for an event titled “Studio Scrawl: The Art of the Short-Short Story.”  I did this presentation at Pingry for their students a little while back and it went over well, so I’ll once again be singing the praises of J. Robert Lennon and his awesome short-short stories.  If you still haven’t read Pieces for the Left Hand, man, am I jealous.  I wish I could read it for the first time all over again.

Next Friday at 9pm (7/23), I’ll be at the Asian American Writers’ Workshop’s Mouth to Mouth Open Mic featuring Ali Wong and yours truly.  It’s my paperback launch, so come on out for some good literature and comedy.

6/27: APALA 30th Anniversary Gala

This past Sunday in Arlington, Virginia (which is a stone’s throw away from DC), I attended APALA‘s 30th Anniversary Gala dinner, where I received the 2010 Asian/Pacific American Award For Literature in the Youth Category.  It was a fantastic event, filled with singing, dancing, and killer, authentic Chinese food (you know it’s authentic when there’s a whole fish, from head to tail,  involved). I was asked to write a short speech, and the following is what I delivered.

There are a lot of needy people in this world, but I’m not sure if there’s anyone needier than writers.  As you probably already know, most of us do our work in a vacuum, so there’s nobody else to blame if we fail at our job (though if you ask my patient and loving wife, she may tell you differently – so do me a favor and don’t ask her).  And conversely, when things are going well, we don’t hear about that, either.  Unless we get, say, some sort of an award for some sort of a literary achievement.  This is where you come in, the Asian/Pacific American Librarians Association.  You have chosen to honor my book for your award, and I couldn’t be happier.  To have an organization like this, an organization that promotes Asian/Pacific American culture and heritage to pick my book – it means the world to me.

The APALA was established a year earlier than my arrival to the States.  Back in the winter of 1981, I was a ten-year old boy, and the only English I knew were the alphabet and counting from one to ten.  And now here I am, a novelist.  I have many people to thank for this transformation, first and foremost my two ESL teachers, Suzan Cole and Susan Jarosiewicz.  With their dedication, perseverance, and enormous stack of flash cards, they taught me the nuts and bolts of the English language.  I also need to pay tribute to Stephen King, because it was his novel The Dead Zone that made me realize the power of fiction, its ability to submerge a reader entirely into another world.  It goes without saying that I owe my family in a big way, since those weekends and summer vacations I spent at our gift shop in Manasquan, New Jersey formed the basis for my novel.  I still marvel at my parents, not only for making a life for us in a foreign country, but for their collective calm when their son called them in the second semester of his freshman year at college to inform them that he was switching out of his safe engineering major and into the uncertain jaws of English Literature.

At Cornell University, I became a writer, thanks to teachers like Stewart O’Nan and Michael Koch.  They introduced me to the works of Denis Johnson, Raymond Carver, Susan Minot, Richard Yates – the list goes on.  And at NYU’s MFA program, a fellow Korean-American writer urged me to read the works of Don Lee, whose story collection Yellow still startles me with the beauty of its language.

The greatest gift of having published a novel is that I get to partake in the current burgeoning of Asian-American literature.  For the longest time, it seemed as if Amy Tan was the only game in town, but now look at us.  From Anchee Min to Min Jin Lee to Li Young-Lee to Yiyun Li and everyone in between, I feel incredibly blessed and privileged to be a little sapling in this growing forest of our literature.  Without you, the librarians who bring our books to the public, we would have a much more difficult time reaching our readers.  You’re doing your job, which makes it that much more rewarding to do mine.  The best way for me to demonstrate my appreciation for this wonderful award is to finish the first draft of my second novel.  Which is coming, slowly but surely, one word at a time.  I don’t have a title for it yet, but once I do, you’ll all be one of the first to know.  Thank you.

And to top it off, when I returned from the event, the trade paperback edition of Everything Asian was waiting for me!  It doesn’t get any better than that.

Lost, One More Time

One thing I didn’t mention was how brilliant and simple it was for the writers to turn the Man in Black back into a human being after the Uncorking. It’s something I never considered, that he could in fact become human once again, almost like a curse being lifted (same with Richard and his immortality). Lost has been brilliant in the way it brings out these simple explanations — like Desmond bringing down the plane.

That’s what I thought was missing in the last fifteen minutes. When Jack had his “I see dead people, and the deadest person of all is me” moment, I was sorely disappointed. Perhaps I was expecting more science fiction and less ethereality;  after all, my favorite season of the show was the fifth, when there was all that time traveling.

I think I would’ve been happier if the two timelines merged, or if Jack sacrificed himself so the second timeline could become reality, or something. What was finally left on the screen just didn’t do it for me.

Cuse and Lindelof tried their best. They also made it very clear that the show was about the characters and not the mysteries, but that’s where they’re wrong. Lost was about great characters in a great mystery. They absolutely knocked the character part out of the park. Not so much with the mystery.

Just to clarify: I had no beef whatsoever with the island’s mythology. It was handled nicely, all the way through, especially the Richard Alpert story. I wasn’t looking for any explanation of any kind for the light and the cork and whatever; I’m completely satisfied in that regard. It’s just the alternate timeline that was the problem, but it’s a pretty significant problem, since it was a large component of the final season.

In the end, I was just looking for something more clever to tie the two timelines together. The showrunners didn’t deliver.

The End of Lost

Take the Wrath of Khan
Add a pinch of the Sixth Sense
Lost ends, a whimper.

If only I could get a time-traveling flash now, and if it could deposit me 15 minutes before the end of the finale…and in this alternate reality, I would’ve turned off the TV (and be as smart as Ben Linus and stay the hell out of the Church of Death).

I enjoyed the bulk of it — it was amazing how they could mine the emotional power of the characters recognizing their relationships again and again, though at times, this made it almost feel like a reunion show more than a final episode.  But the showrunners never really figured out a way to reconcile the island timeline vs. alternate timeline, at least not in the way I found satisfying.  A while ago, Cuse and Lindelof were asked point-blank if the island was the afterlife, and they adamantly denied it.  So I guess this is how they get away with that promise: they make the alternate timeline a sort of an afterlife.

The speech by Christian was hokey at best.  Two and a half  hours later, I’m admiring Chase and Co. all over again.

With Lost, it has always been more the journey than the destination, and I have absolutely enjoyed the ride, but man, when the train end up in Armpit, U.S.A., it is a bit of a bummer.