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user\nChristopher Nolan had his goals set on Following in a very narrow direction, and in that direction he pulled off something that reminded me of the kind of great little 'poverty-row' movies the likes of Ullmer directed back in the 40s. Only this time, he's able to implement touches of homage- things like black and white photography (a given due to the shoe-string budget but also essential to the dark crevices these characters inhabit) and casting of the actors (the John Doe lead, the slick male counterpart, and the beautiful-in-a-gritty way femme fatale)- while keeping it in the realm of the 90s underground indie where for several thousand dollars and specific choices in locations and music and such anything could be possible. That, and as well in the film-noir mood Nolan also puts together a cunning web of a plot, maybe even more so than Memento. Where the latter was a work of a psychology unfolding by way of a plot enriched by looking to the past inch by inch, here the non-linear structure serves the purpose of showing how far someone like Bill can go through as dark a path as Cobb, only in an environment where keeping on your toes is not for someone who's not really twisted and into the deeper mind games Cobb is.
Of course, the whole act of following someone becomes the main thrust of the story, and going into it I wasn't even sure where it would lead, if it might be some kind of stream of consciousness ala Slacker where Nolan would lead his character along to one urban British person to another. But the establishment of the ties of Bill to Cobb are done in a quick and excellent way, as we see right when Cobb approaches Bill at the café to ask what he's doing following him tells almost all we need to know about both- that, and the first robbery he brings him along for. What seems to soon be a good score on the horizon is really all one big set-up by Cobb and his lady (just called 'The Blonde', maybe a too-obvious homage to noir, but why carp). But this is revealed in a way that actually truly had me guessing, as the manipulation of the narrative worked all the more to arouse questions not so much of why but of how. The density is brought out all the greater due to the actors understanding of their essential points as characters, with Alex Haw being brilliant as a true sociopath who can barely mask his 'deep' ideas about what it is to really take pleasure in a burglary, and Theobald with that demeanor of someone who can never be as smart as he is in what he really does, but is more intelligent in that naive way that stands no chance in the dank environment such as this; Russell almost makes it too easy, even with a face that would send Ana Savage shaking her head.
Meanwhile, Nolan is also on the ball with his style as a cameraman, keeping nothing in that doesn't add to ambiance and suspense, with the fade-in/fade-outs not too quick to leave a lasting impression, but enough to add to the 'this-could-lead-anywhere' logic of the script. He follows it in hand-held form as if he knows where his limitations lie, and yet is fantastic at keeping the essentials: close-ups when need be (one I loved is Russell's face in a small mirror), and a fairly simple techno track that never detracts. Sometimes, as mentioned, the line between seeing something in 'present-day' and seeing something that is as everlasting as a solid pulp story of low-level criminals with mind-games and moral ambiguity is always never totally clear, which for me is practically irresistible in its dark way. Simply put, this is one of the great calling cards I've seen from a filmmaker in recent years, and should hopefully be something that future fans of Nolan's other work can look forward to to discovering. Or even to those who think that noir has gone to the rapid-editing and big-gun-firing dogs of the mainstream (even in independent films) it's a bright little 71 minutes.
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