The first film in my comprehensive analysis of The Films of Christopher Nolan is the independent neo-noir (soon to be) classic Following. Nolan's first film is the epitome of independent cinema. With a budget of less than $0, this film was shot around London (without permits) in the homes of the cast and crew. The principle photography took over a year to shoot because they could only shoot for several hours on the weekends. Despite the films modest beginnings, it is a wonderful window into Nolan's potential as a filmmaker and a storyteller. Even if he is, in this film at least, a little rough around the edges.
Following's plot revolves around Bill (Jeremy Theobald), an impoverished, down on his luck writer with a penchant for stalking and voyeurism. He is fascinated with people and decides to start following those that he sees in public. He does not talk to them he just "wants to see where they go." This seemingly innocent, (albeit creepy) pastime satisfies Bill for a while; until he meets a burglar named Cobb (Alex Haw). A person for whom Bill breaks his cardinal rule: never follow the same person twice. If I describe any more of the plot it would do the film a disservice. What follows though is a noir thriller with plot twists and reveals that upon multiple viewings, changes the film's plot and character motivations.
If I could sum up this film in a single word, it would be potential. Even in this, his first feature length film, Nolan proves that he is a master craftsman. We get a glimpse of a film style and structure that would become synonymous with the director's name. One such stylistic "Nolan technique" used here is the non-linear story structure. Not suitable for all films (I am looking at you Man of Steel), the non linear structure, when done right, enhances the experience of the film. In Following, the non-linear structure turns what would have been a predictable thriller into a complex web of deceit and double crosses. Jumping forward and back effortlessly, the film keeps the audience guessing regarding character motivations and conversational context. In the director's commentary for this film (one of the few Nolan has ever done) Nolan explains his affinity for this type of storytelling " I want to create films in which, upon repeat viewings, the audience gets a different experience.". This is especially true of Following, in which Nolan repeats a number of different images including similar shots of characters throughout the film. However, because he uses alternate takes, these same images still seem fresh.
While Nolan's more recent films have been epic in scale (not only in production size but in length: The Dark Knight Rises clocked in at whopping 165 min) Following is tight and economical. With a run time of just over 70 min, the script and finished film has no wasted scenes, and the dialogue is meaningful and crisp (the blessing of a low budget independent film). Because of the economical tone, a lot of the story takes place off camera. We, as the audience, are only privy to the scenes of utmost importance and still we feel a connection to these characters. This tone continued in the lighting with Nolan choosing to shoot in black and white (to maintain the Noir feel), and to only use natural lighting. It was this type of Guerrilla-style filmmaking that made Nolan a hot up and comer among Hollywood's Indie elite.
The film's inception came out of Nolan's sociological curiosity. As he would watch people in crowds he would wonder about their lives: where they were going, what they were doing etc. It is this conceptual framework (the basis of the script) that lends Following to be mined for rich sociological analysis. The protagonist, Bill, at the beginning of the film has the type of social curiosity that sociologist Peter Berger said is a necessary requirement for a anyone studying Sociology. Yet, that curiosity can not be easily satisfied, an individual must look deeper, and be critical of the information that they receive. A drive that leads Bill into Cobb's web.
In the film, Cobb's motivation for being a burglar is heavy with social commentary to the point of almost waxing poetic. Explaining this to Bill, Cobb mentions "that you can tell a lot about someone by the stuff they have." This comment echoes the work of Classical Social Theorists Thorstein Veblen (Conspicuous Consumption) and Karl Marx (Commodity Fetishism). Veblen and Marx, (in two different approaches) identify the way an individual's social and self identity is wrapped up in material goods. These material goods become the a primary way we represent/present our power and status in society. Through the acquisition of "stuff", we create and maintain a self image that we present to those around us. As an example: a person who wears designer clothes to give off the impression that they are wealthy, even though they bought the clothes 1/2 off at a swap meet, or thrift store. This commodified identity is exacerbated by marketing which manufactures emotional connections to physical objects among consumers resulting in the rapid increase of the storage industry and creating a culture of hoarders. In Following, Cobb alludes to this idea. He states: "I take their stuff away, to show them what they had...All of a sudden, they have to go through all of the stuff they lost and REALLY think about what its worth, and whether or not they need it." The film also drives home the point that everyone, has physical keepsakes that represent who we are, mementos that say something about us beyond any words can describe. This is quintessential social theorizing of identity creation and maintenance, and I marvel at how seamlessly it fits into the narrative Nolan creates.
This is by far Nolan's most underrated film to date. It being his first film, it has no star power or directorial clout. Irregardless, the film stands on its own, as a gritty and complex thriller with a dash of social commentary. While many look to Memento as the film that made Christopher Nolan a star on the rise, Following is the ladder that started the ascension, and should not be over looked.
