Marshall and the Movies

Is a one-word title a tragedy?  That is exactly what the Chicago Tribune‘s cultural critic, Julia Keller, dares to suggest in the wake of the release of “Inception” and “Salt.”

Here’s her argument:

There’s a word for titles like these: Ugh.

The hot new summer films “Inception” and “Salt” may be entertaining and popular, but when it comes to the snipped-off monikers by which they’re known — the one-word title — they’re as disappointing as stale Milk Duds.

Trying to come up with an evocative one-word title is a challenge, a dare, a high-wire act without a net. It’s an all-or-nothing adventure without a Plan B. There’s no backup adjective, no cushioning adverb, no peppy little verb to take the pressure off. Neither a politely introductory “The” nor the helpful threshold of an “A” or an “An” is present to lend aid and comfort. No prepositions are in sight. No ampersand stands by.

Going with a solo word as a title is like risking everything on a single throw of the dice or spin of the wheel. It’s like betting the house on red 7 or black 17. It’s one-and-done. title is a challenge, a dare, a high-wire act without a net. It’s an all-or-nothing adventure without a Plan B. There’s no backup adjective, no cushioning adverb, no peppy little verb to take the pressure off. Neither a politely introductory “The” nor the helpful threshold of an “A” or an “An” is present to lend aid and comfort. No prepositions are in sight. No ampersand stands by.

But whether it soars or it sinks, the one-word title is a constant reminder of the marvelous, astonishing, complex and unfathomable power of words. Words are a matter of nuance and texture, of memory and association, of linguistics, of history, of that ineffable magic attending any creative enterprise. With just a single word, an entire world may leap to life. A one-word title can imbue a work with the primitive, epic, thunderous power of eternity; indeed, some one-word titles — think of the film “Gladiator” (2000) — march forth and demand to be chiseled in granite. Other titles — think of the film “Sideways” (2004) — seem achingly fragile, ephemeral, as if they might blow away at the merest hint of wind and be lost forever, like first love.

She lists “Inception” as one of the worst one-word titles ever.  But I say, what’s wrong with the title “Inception?”  It perfectly communicates the mystery and power of the movie, and what more can you ask for?

Let’s brainstorm some other titles – “Subconscious Security?”  It sounds like a bad Martin Lawrence comedy.  “Dream Within a Dream?”  That wouldn’t sell because it sounds way too complicated.  “Limbo?”  Sounds like a raunchy beach movie.  “Inception” perfectly teases us, sounding sophisticated without giving too much away.

Is a one-word title really THAT bad?  Sound off below!