Customer Reviews

Following

5 star:		(32)
4 star:		(24)
3 star:		(4)
2 star:		(0)
1 star:		(2)

 

 

If you're looking at this DVD, odds are it's because you saw "Memento" and wondered about the director, Christopher Nolan. Let's cut to the chase: Yes, "Following" is similar to "Memento" -- its narrative jumps around in a similar way, to start with -- and yes, it's basically just as good a movie. If you're wanting to stumble across a great young film noir director, Christopher Nolan is your guy, and this movie is well worth a look. Make that two or three looks.

I have to say, when I read the DVD case and saw that this plot wasn't told chronologically, the first word that came to mind was "gimmick." For "Memento" it made sense to tell things backward, because of the whole memory-impairment center of the story, but here Nolan was doing it again in an earlier movie? I was set to see a sort of warmup run, especially because this one was made with almost no budget at all.

Okay, so I was wrong. "Following" tells a few different lines of the story at once, but it doesn't tell them in reverse; here the idea is that the story's framework is a conversation between our main character and another man who's interviewing him in the opening moments. In the (dryly funny) director commentary, Nolan says he's trying to provide the viewer with details and themes in a "conversational" way. Maybe that's a conceit, but dang it, the mixed up storyline worked on this one too.

Two other common points of the two movies: they're built on incredibly spare, lean writing, and they really, really reward watching at least twice.

Following, if anything, is even more minimalistic than Memento; it's literally true that you come out of the movie not knowing any of the characters' real names. Given the premise -- that the main character develops an inappropriate, fascinated interest in the intimate lives of anonymous people he sees in a crowd -- the doubt you feel even about the characters' names makes perfect sense. A bunch of other little touches on that theme really hit home with me -- boxes full of memorabilia that are (or maybe aren't) giving our protagonist a look at people's internal lives, and so on. Gradually you realize the story's so sparely told because we're like the main character, trying to figure people out by looking at the pieces of their story from a distance in a crowd.

And man, does Following reward a second watching. You'll get through it once and you'll kick it around for a while, work out the stuff you missed, tell your friends what you noticed... and then you all want to hit Play again. Every scene plays a little differently the second, or third, time through. That's exactly the sort of movie you want to collect, right?

If you are a collector sort, you'll like the few extras this one provides. For a "no budget" indie film, it really "gets" the DVD thing. There's an alternate camera angle with the modified script, so you can play through and watch where Nolan and company made changes along the way. Some of the changes are pretty funny; the sound guy's name got substituted for one of the character names. Nolan's commentary soundtrack is really worth hearing, too, especially because he made this with no money at all. He talks about how he established continuity for the viewer with little visual cues, throws off very funny little asides about how he cut corners, and stuff like that. Finally, you also get a "chronological" option, so you can see everything in order. It's all set in a nicely elegant set of menus that match the sleak tone of the movie.

So, yeah, it's worth it. Following is extremely memorable. It's not a perfect movie, or anything -- I'd still say either The Third Man or The Big Sleep is my favorite film noir -- but give it four stars and change, for doing so much on a shoestring.

You gotta wonder what Christopher Nolan can do to back this up. He's going to have more money in hand, and the fractured story thing might not last another movie. Hearing the director commentary on this disc, I don't think he's going to necessarily be limited to the cynical point of view these two movies have seemed to push. The guy has a real eye for character, for the way people head in unlikely directions... This could be an amazing career we're seeing start up, or then again maybe these are just a little too cynical to start with.

Christopher Nolan is a very talented director who proves how talented he is with his first "no-budget" movie, "Following." This a dark film noir that will keep you thinking and guessing until the shocking last scene.

Bill is a struggling writer who has been on his own for quite sometime. During that time he has become very bored and needs to find ways to kill time. He starts to follow people... anybody who seemed interesting to him. At first it was supposed to be a way for him to gather material for characters in his stories, but soon he becomes obsessed and cannot stop following people. Once a thief, Cobb, catches Bill in the act, he decides to allow him to enter his world of robbing houses, showing Bill how to really violate the lives of strangers. Soon everything starts to spin out of control and things for Bill will never be the same as he starts to learn that somebody just might be trying to use him as a decoy.... but a decoy for what? This dark film noir will keep you watching and thinking, even when it's all said and done. Then, you're going to want to watch it again.

Very much like "Memento," Nolan screws around with time, forcing us to remember exactly what has happened and the order they occurred in. However, the movie is not backwards, it is very much out of order in parts, so pay attention to every little detail that you come across. Is this film confusing? Yes, it is, or at least the first time you see it. This is a movie that will require you to watch it at least two times. Although I thought this was a good movie, I was a little disappointed with the length of the movie. It is only 70 minutes long, which isn't very long at all. It's also not widescreen, but I'm sure that' s because it wasn't filmed that way. It is black and white, very much like "Clerks," but it actually makes the film seem more darker and eerier. The movie does have great acting, from people you've never even heard of most likely, and it does have a great story line. It tends to be confusing at times, even frustrating. So see it with an open mind. I loved the music in it and you will be glad to know that it is the same person Nolan used for "Memento." There are a few extras on the DVD; one of the best features is the ability for you to see the movie in chronological order. There are also trailers for "Following" and "Memento." ("Memento" is probably one of the best theatrical trailers I have ever seen. "Following" is also a fine trailer.)

"Following" is a fine first from Nolan, who has proven that he is a brilliant writer and director who loves to make us do a lot of work when watching his films. If you liked "Memento," chances are you will enjoy this film as well. A brilliant movie, and one that shows you that you do not need a big budget to make a great movie. See this one as soon as you can.

Christopher Nolan puts Hollywood to shame with this no-budget film. Proving that good scripts, good directors and good actors are the key ingredients that constitute good movies, not swollen budgets, big "stars" or special effects Nolan has created a very compelling film indeed. Although it's a no budget affair, it sure doesn't feel like it. The B&W treatment feels like a natural complement to the gritty story and turns a potential limitation into an asset- it actually has a real artistic visual style. The performances are first rate as well, but what really floats this movie is the terrific script that will draw you in and keep you in suspense right up until the last frame. Then you'll want to see it again immediately. How many movies do you have that reaction to? The non-chronological narrative is dealt with masterfully and gives an already intriguing story a further dimension. An added bonus is Nolan's astute commentary and the alternate angle view of the shooting script, both wonderful resources for the aspiring filmmaker but fascinating for the rest of us too.
I saw this film accidentally because I grabbed the box too hastily from the video store, but boy am I glad I did!

Highly recommended.

I have to say that Memento is the best movie I've ever seen. I decided to watch this because it's by the same director and I was wondering what else he could come up with. And I wasn't dissapointed. The movie is in black and white and jumps around the timeline in an interesting way, which keeps you focused and trying to figure out what's going on. I thought the general idea of the movie, about a guy who follows and watches random people, trying to figure out who they are and what they do, is quite original but at the same time common to everybody -- who hasn't wondered about the random person on the street (I sure have).

The way the movie is presented is involving and at times humorous. The way the camera is positioned you really get a feel for being right there, next to the characters and involved in the storyline.

The movie is just as good on the second or third viewing (like Memento), and that's definitely evidence to the fact it's good.

I would definitely recommend this movie to people who liked Memento; you won't be dissapointed with it.

You can really see how this was the precursor to MEMENTO in that he uses the same device of telling the movie out of sequence and gives you the surprise ending. Otherwise it has a very low budget look shot in B&W with English actors that are sometimes hard to understand, but its quick 70 minute length means that it never gets boring.

The movie is about an unemployed writer that starts following people because he's bored. After tailing a thief for a while, the thief realizes that he's not a cop and decides to take the follower along on some break-ins. Told so out of sequence that you piece it together little by little, the follower follows and starts dating the girl whose house they broke into.

The DVD had a decent commentary, and a feature that lets you see the whole thing in sequence. This is like watching a touted ballplayer in his rookie season, a lot of promise and rewards to come.

Christopher Nolan's first film is an absolute gem of no budget filmaking that should make Hollywood producer's stand up and take notice.

The film shot in London on Saturdays because the cast and crew had other day jobs on a budget of $6000.00 is a stylish film noir with a unique time structure that was used to suberb effect in Nolan's second feature Memento.

The film follws the story of a young man(Jeremy Theobald)who takes to following random people on the street in order to overcome his boring and lonely lifestyle. One day he follows a stranger carrying a leather bag who turns out to be a thief. Being invited to join in on some break ins a story of double and triple crosses follows.

The story is just quirky enough to keep the viewer's attention for its short 70 minute run time and nary a frame of film is wasted. There are good supporting performances by Alex Haw as the thief, Cobb and by Lucy Russell as the obligatory blonde femme fatale.

The DVD is presented in a full frame addition only with Dolby 2.0 sound. The disc contains a commentary that tells new filmakers how to deal with the problem of a non existent budget, a screenplay viewer and the ability to view the film chronologically.

All in all a good way to spend 70 minutes of your time. Highly recommended.

Wes Anderson made "Bottle Rocket" for no money, and then followed it up with the critically lauded "Rushmore". Darren Aronofsky made "Pi" for no money, and then followed it up with the critically lauded "Requiem for a Dream". Richard Linklater, Guy Ritchie, and Tom Tykwer, some of my favourite filmmakers working today, have all followed this formula for success.

Add Christopher Nolan's name to this list. Before making the critically lauded smash "Memento", he hunkered down and wrote an engrossing script, raised a minimal amount of capital, cast some amateur/non-actors, found some cheap black and white film, and took to the streets guerrilla-style to complete his first film. What we get is the engrossing neo-noir of "Following".

And we also get a kind of proto-"Memento". Nolan, in what some may call a gimmick, again utilizes an irregular story structure to tell the tale of a lonely man caught up in extraordinary circumstances. The story, complicated enough if it were told straight (more on that later) is divided into three acts. The trick is that all three acts are told simultaneously; a scene from one follows a scene from another, which follows a scene from the third. The effect is somewhat jarring: protagonist Bill (or is it Danny? Or, as the credits denote him, The Young Man) sometimes has long hair and a goatee, sometimes sports a short haircut and a clean suit, and sometimes shows the cuts and bruises from a brutal beating. All within consecutive scenes. Fear not, for there is a method to Nolan's madness. He does his best to play fair with the audience, to provide them with visual clues so they can tell where they are in the story. Nolan, as he later would show with "Memento", is a masterful puppeteer, controlling all the limbs of his story with skill and precision.

Populating the disordered order of "Following" is a small cast of unknown actors, many making their first and only screen appearances. Jeremy Theobald plays The Young Man (he also co-produces; the director's commentary track notes that 'Jerry' was responsible for location scouting, on top of playing the lead). He's got low-key appeal, essential for essaying a loner looking for any human contact he can muster. Bill has taken to picking out a random person in a crowd, and following them around, ostensibly to gather character information for his writing, but more likely in the hopes of creating an imaginary friend. When one such 'friend' catches him in the act, Theobald does a fantastic job of showing Bill's discomfort, and then his gradual easing into the situation. Cobb, the friend in question, is a hyper-confidant thief, played with slimy charm by Alex Haw. Haw is great at showing Cobb's malice, his untrustworthiness, as well as the plethora of reasons that draw Bill to him. He's got a toned-down Richard E. Grant quality about him, although less kinetic and manic. Lucy Russell, as The Blonde, is really nothing more than that. Russell does fine showing her femme fatale-ness, but really brings little else to the role, including the desirability that all the characters keep insisting she has.

"Following" is a quick (67 minutes) slice of urban isolation. You feel for Bill as he spirals down deeper and deeper into a web of intrigue. And the discerning audience member will appreciate having to pay attention to a plot that gives you all the clues you'll need, but never holds your hand. If you've done your homework, and been alert the whole time, the ending will leave you mouth agape.

NOTES ON THE DVD

The DVD is jam-packed with goodies, mounds more than a movie of this magnitude would normally deserve. I guess Nolan took every post-"Memento" opportunity to shed light on his little-seen first feature. I think it deserves all it gets.

Nolan's commentary track focuses on his knowledge that he'd never have any money to make this film, and how that knowledge affected everything from the script he wrote, to the way he lit the film, to the choice of using black and white, to the actors he used and they way they rehearsed, to the locations. It's a very thoughtful commentary, full of useful tidbits for other first time filmmakers. Nolan's monotone delivery can be somnolent at times, but he's so smart and precise about what he's saying you can easily overlook that and become engrossed in the content.

Using the alternate angle button on your DVD player allows the viewer to see the current page of Nolan's shooting script while the movie is running. It is interesting to see where changes were made, and to figure out why. Often budgetary restraints were the deciding factor, but some changes were made to tighten up and improve the storytelling.

And as a neat little toy for those with an insatiable curiosity, the DVD comes with a feature allowing you to restructure "Following" chronologically. Its main benefit is that it proves that the film's modular structure is not merely a gimmick, but amplifies the intensity and dynamic tension of the story.

"Following" can be a tough sell for some; its grainy (but gloriously shadow-intensive) cinematography and bare bones approach to acting and scenery are a far cry from big-budget Hollywood. But it is still an engrossing work, one that, like its younger sibling, rewards repeat viewings. I've seen it three times now, and am still amazed at the bang for his buck that Nolan achieved.

Christopher Nolan surprised movie fans with critically acclaimed "Memento" with its stylish, original storytelling, and if you're interested how he started his career, "Following" is a must for you to see. The classic ingredints of the Holloywood's old film noir -- a deadly attractive but morally dubious character from the underworld, an unemployed self-claimed writer, and a blonde woman -- are suavely treated with skillful editing and moody 16 mm. black-and-white photography of London, and though the story itself is often too incredible (as many of the past noir masterpieces are), you find yourself drawn into the world Nolan created with this low-budget movie, just like the hapless hero of the film.

Bill, a writer without writing anything, finds a new hobby. That is following people he picks up on the street at random. Without any particular reason Bill keeps on shadowing until he encounters Cobb, who notices his following, and boldly faces him to invite Bill to HIS own world of joy -- sneaking into someone's room. This is the beginning of his little adventure, in which Bill meets another mysterious figure, a beautiful blonde girl, whose motive is unclear to him and also to us....

As in "Memento," a comparatively thin plot is enlarged with Nolan's unique storytelling techniques that break the rule of chronological order, making use of flash-back and flash-forward. You have to always concentrate your mind on what's going on on the screen, to truly appreciate the impact of the unexpected windup of Bill's new hobby, which turns, as you know, a big nightmare. Though I find the middle part of the film a little bit dull, and the story itself is too unbeliebavle, the film's integrity is a considerable one, making "Following" a rare treat for the fans of this film noir genre.

My material about the film I got at theater says that as the filmmakers did another job on weekdays to earn money, they could spend only Saturdays to film the scenes, so the actors had to keep their haircut always the same for more than 20 weeks, so as to preserve continuity!

This movie is a fantastic work in virtually every respect. The story is involving, the B&W atmosphere sets the right mood (obviously due to a very low budget, but it works well here), and the twist at the end of the story is extremely well executed. Keeps you guessing until the final few frames. A masterpiece by Christopher Nolan, who is better known for his work on Memento (also a masterpiece in its own right). Highly recommended viewing for those who like surprises!

Ever heard of MEMENTO? I thought so. How about those two new BATMAN movies, especially the one with The Joker? You can't walk the streets without hearing about those flicks. What about INSOMNIA or THE PRESTIGE? Because of all the A-list talent involved, chances are pretty good you at least heard of them.

How about FOLLOWING? Me neither. I have been an ardent fan of Christopher Nolan for a few years. But after watching THE DARK KNIGHT, it was time to find out whether my personal myth of this genius was always true. Was he always this good? As it turns out, Nolan's instant masterpiece MEMENTO wasn't the first project he tackled. I still had yet to discover this debut feature.

Ever since hearing about this movie, I've always wanted to like FOLLOWING. Imagine how heartbroken I'd be if Nolan had anything less than a ***1/2-out-of-4 picture. If you can imagine that feeling of anxiety, then you'll understand how exhilarated I am to tell you that Christopher Nolan (in my opinion) has a perfect track record of excellence in his decade-long library.

FOLLOWING shares many similarities to MEMENTO. Nolan penned both screenplays, produced both pictures, used David Julyan to compose a minimal score for each movie, and presents the plot out of chronological order. But to list the shared qualities between the two films is just as if you tired to compare Nolan's INSOMNIA to the 1998 original - you're missing out on the unique complexities.

As FOLLOWING begins, we see brief random images that clue us into the literal and metaphorical shape of the story. Then, a young man is telling his story to an older authority figure in flashback. Jeremy Theobald, an actor I regretfully haven't seen in anything else, plays this unnamed character. His voice-over narration reveals that in order to inspire his writing, he innocently (?) shadowed London strangers. But soon, he is caught by one of his random selections in a diner. The stranger swiftly and seductively turns the tables on the follower, and convinces him to tag along for a burglary.

What's interesting about this thief is that he shares some remarkable similarities to The Joker in THE DARK KNIGHT: sinister yet irresistible, criminal yet logical, dangerous yet comforting. Like the Young Man, our assumptions about this thief's greed are quickly overturned by his philosophical justifications. What's more disturbing, is we're tempted to discover the secrets of others we don't know. The thief, calling himself "Cobb", soon reveals that he doesn't loot for money. He steals personal items instead, claiming that this invasion of privacy will impact his victims in a profound way.

The plot isn't told in chronological order, but unlike MEMENTO, there is no particular pattern to the puzzle. The timeline is more like Alejandro Gonzalez Inarrittu's movies (21 GRAMS or BABEL, for example): told in random pieces, so that we're unsure if we're one step ahead of the characters, or vice versa. The main story arc focuses on the Young Man's involvement with a femme fatale, whose troubles with a powerful ex-boyfriend allow this Young Man (and us) to penetrate her innermost secrets. Like the greatest film noirs, FOLLOWING is so much more than a visually stunning piece of bizarre entertainment. The story is primarily (I think) an exploration of how our privacy can be violated in the most unusual ways; its unusual focus forces us to join the thieves for the ride. When Cobb and The Young Man enter these strangers' homes, I felt a guilty rush like when Michael Corleone almost couldn't find the gun in the bathroom stall. After all, did I really want to see either of these criminals get caught in the act?

But this guilt is where Nolan is crucial to the piece. He never once approves of this behavior. He doesn't even sympathize with the Young Man's new ladyfriend, in spite of her exposure to brutish violence. But the secret to Nolan's success in FOLLOWING (and perhaps MEMENTO) is that his artistry paints the portrait, but makes it our responsibility to describe it. I think Nolan is very in tune with his audiences. He carefully constructs the story, but leaves us with plenty of subtleties to discover over time.

I won't give away where the story goes next, because FOLLOWING depends on a first-time viewing more than any of Nolan's other films. There are some twists in the plot that are effective the first time around, but aren't as surprising after repeat viewings. That's not to say FOLLOWING isn't an excellent picture, because its psychological depth is a genuine delight. But like Nolan's THE PRESTIGE, there may be one too many twists. The developments work and make sense, but don't hit the gut as much as other surprises in Nolan's other pictures. Think of a clock whose hands make a slightly noisier sound than you might prefer.

While this is my personal least favorite of Christopher Nolan's film catalog, FOLLOWING is an exemplary movie well worth your time. It's black-and-white photography and limited budgetshouldn't discourage you from one of the 90s' most intelligent psychological thrillers. Nolan had the confidence in his story - or at least good budget management - to keep the time length to a tight 71 minutes, and it's not a moment too short or too long. FOLLOWING is a tale so absorbing, it's a shame we didn't hear of this Nolan guy right away. Good thing MEMENTO was his next picture, right?

***DVD Notes***
This Columbia DVD release includes:
1) A trailer
2) An alternate angle to read the screenplay while the movie plays
3) The option to play the movie in chronological order
4) An audio commentary track by Christopher Nolan
Nolan's humility and intelligence make any interview or commentary track a pleasure to listen to, and the alternate options to watch FOLLOWING are a nice touch. For a relatively unknown picture, the quality of bonus content surpasses most mainstream releases.