In July 2010, Christopher Nolan claimed $170 million necessary to depict dreams on the largest scale. Back in 1998, however, he only needed $6000 to create a unique nightmare. Following, a film noir thriller set in 1998 concerns young unemployed writer Bill. He becomes embroiled in a dangerous game after following individuals in the streets of London for inspiration for his novel. Involved in burglary after being caught by the suave Cobb, he eventually becomes romantically involved with one of his robbery subjects. Nobody is what they seem and the film’s plot is that of a traditional hardboiled noir. Despite gaining critical acclaim and some awards recognition, the film did not gain Nolan a wide publicity. Yet now with his current Hollywood status, Following may accumulate the wider audience it deserves.
Yet to compare it only with his elaborate Hollywood productions would be unfair. Nolan invests Following with a simple economical filmmaking style. Lacking in dissolves or fades and using a plethora of close up and tracking shots, it’s a bare bones style for an essentially simple theme. As writer Bill becomes deeply involved with dapper burglar Cobb, it evolves into a distinct British tale of the smart businessman London ensnaring the exploited working class. The choice of cold, realistic black and white to reflect this dynamic is a clever one but Nolan allows some unhinged techniques to creep in. The early scenes of the actual ‘following’ in which Bill stalks subjects for writing ‘inspiration’ is shot in an unstable, shaky POV style. Varying with mostly simple techniques, Nolan injects some verve into the action - a technique reused later for Insomnia (2002).
Yet to compare it only with his elaborate Hollywood productions would be unfair. Nolan invests Following with a simple economical filmmaking style. Lacking in dissolves or fades and using a plethora of close up and tracking shots, it’s a bare bones style for an essentially simple theme. As writer Bill becomes deeply involved with dapper burglar Cobb, it evolves into a distinct British tale of the smart businessman London ensnaring the exploited working class. The choice of cold, realistic black and white to reflect this dynamic is a clever one but Nolan allows some unhinged techniques to creep in. The early scenes of the actual ‘following’ in which Bill stalks subjects for writing ‘inspiration’ is shot in an unstable, shaky POV style. Varying with mostly simple techniques, Nolan injects some verve into the action - a technique reused later for Insomnia (2002).
The acting of the two leads is impeccable. Recalling Leonard Shelby in Memento and Bruce Wayne in Batman Begins, Bill is shown to be a man in search of a purpose. His early following and involvement in burglary are like the later character’s individual moral crusades - mere exercises to give purpose to empty lives. Yet neither Guy Pearce nor Christian Bale possessed the pathetic quality that Jeremy Theobald as Cobb conveys here. With a scruffy beard and raspy voice, he effortlessly convinces as someone in this lifestyle. A voiceover adds a consummate creepiness to his character; yet it’s hard not to feel pity in some of his more desperate scenes. His performance is overshadowed by that of Alex Haw as manipulative Cobb. Businessman like and all knowing, Cobb nevertheless has a philosophy which disguises his self interested intentions. Stealing and analysing burglary victims’ possessions, he claims; “you take it away.... to show them what they had.” Masquerading as a philosopher and moral superior, he is really nothing more than an opportunistic, underhanded thief. But Haw highlights his most darkly comic and charming aspects- a plausible idol for the socially outcast Bill.
Their relationship paints the ultimate theme of the film. The key to what unravels an individual is in their inner lives and personality hence why Cobb steals small compromising objects from his burglaries. Bill reveals information about himself and who he is in his first meeting with Cobb whereas Cobb remains hidden and secretive. Individual emotion, honesty and lost artists like Bill have no place in Cobb’s role of control, foresight and cool professionalism.
The film isn’t perfect despite its successes. The tone veers into Guy Ritchie territory when a tea towel is asked for in cleaning up a murder. The non-chronological plot of flash forwards and flashbacks felt startling at its release but now feels less refined. Such a contrived structure, incorporated to simply confuse and disorientate, is disappointing after the form is meaning style of Memento. It’s the major problem which permeates this and so many of Nolan’s films. It’s hard not to feel like chess pieces in Nolan’s game and not feel manipulated by the plot structure and uncertainty of character motivations. Whilst we never feel cheated as an audience, Following feels at times more like an intellectual exercise than a fully fledged first feature. Though considering Nolan’s miniscule budget, the film is a rare achievement. By the astonishing twist ending, one can only wish a break from big budgets as one of his best works was made quietly.
Following Review by Tom Cobb
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