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re: Official "Inception" Thread (***SPOILERS***)

Posted on 7/24/10 at 10:22 am to
Posted by etm512
Mandeville, LA
Member since Aug 2005
21022 posts
Posted on 7/24/10 at 10:22 am to
Saw it last night and HOLY shite what a movie.

- The hallway fight scene was mesmerizing. Amazing choreography for that. Definitely one of the best fight scenes ever now.

- This movie will be debated for years and that is a testament to the complexity of Nolan's tale. Hats off to him.

- I think he was still dreaming at the end. Whether the whole thing was a dream or not I don't know. But the kids were playing in the same position when they finally turned to see their faces. Also they didn't age. They were the same age they were when he first left which I would assume was at least a year or two prior.

One thing I am having trouble with is why was Saito and old man in the opening scene? Did they induce his dream and then let him sit there for a while?
Posted by Cs
Member since Aug 2008
10681 posts
Posted on 7/24/10 at 11:18 am to
quote:

Also they didn't age. They were the same age they were when he first left which I would assume was at least a year or two prior.


They did age.

In fact, the kids who played James and Phillipa at the very end were a few years older (in real life) than the kids who played them throughout the film.
This post was edited on 7/24/10 at 12:39 pm
Posted by UnclassyStudent
Baton Rouge
Member since Oct 2007
2894 posts
Posted on 7/24/10 at 12:30 pm to
Ok so this has probably been talked about already and I probably have already figured this out and forgotten BUT, how do Cobb's projections, the train and Mal, show up in other people's dreams? I thought the world was created by the architect and populated only by the subconscious of the subject.
Posted by Cs
Member since Aug 2008
10681 posts
Posted on 7/24/10 at 12:50 pm to
quote:

BUT, how do Cobb's projections, the train and Mal, show up in other people's dreams? I thought the world was created by the architect and populated only by the subconscious of the subject.


The train was a projection from Fisher's subconscious, not Dom's. The levels are created by the architect, but that doesn't necessarily mean they are the dreamer.

As explained in the film, Mal is essentially "bursting" through Dom's subconscious. Normally, the projections of only the subject's subconscious are present in the dream, however, in Dom's case, his projections of Mal, and his children, slip through the cracks.

This is why Ariadne kept asking Dom if "the others knew", and if it was "getting worse". It's also why Dom tried to keep himself in the dark about the layout of each labyrinth, because knowledge of the paths would make it easier for him to bring in his own projections.

Posted by DanglingFury
Living the dream
Member since Dec 2007
20475 posts
Posted on 7/24/10 at 1:40 pm to
The train was there because of Cobb.
Posted by arrakis
Member since Nov 2008
21168 posts
Posted on 7/24/10 at 2:23 pm to


Posted by The Easter Bunny
Santa Barbara
Member since Jan 2005
45663 posts
Posted on 7/24/10 at 4:03 pm to
One problem I have is why didn't Fischer recognize Saito? And how did he not know that his biggest competitor just bought the airline he was taking after his personal jet had mysterious damage?
Posted by GeauxZone90
Baton Rouge
Member since Jul 2010
3631 posts
Posted on 7/24/10 at 7:06 pm to
Just got back from this movie. Really well made but a bit confusing. WIll have to watch it a second time

Also I believe the ending was a dream because at the end where he saw his kids, it was the same scene of his kids throughout the movie.
This post was edited on 7/24/10 at 7:26 pm
Posted by The Easter Bunny
Santa Barbara
Member since Jan 2005
45663 posts
Posted on 7/24/10 at 7:58 pm to
quote:

it was the same scene of his kids throughout the movie.


Their shoes were different, and the girl was wearing a slightly different outfit. Also the actors were older than in the earlier parts.

Not saying it isn't necessarily a dream, just listing things people have used to say the alternative is true.
Posted by Freauxzen
Washington
Member since Feb 2006
38656 posts
Posted on 7/24/10 at 8:26 pm to
I just got back from it again...

Reflecting on the overall argument, I think we have taken it to far. I think there are arguments on both sides, and good ones at that.

But the most important moment of the film is Baloo's point. It doesn't matter whether or not the entire thing was a dream. If the film is about Cobb in reality or Cobb's psyche in a dream, there is one key thing that IS A FACT:

At the end of the film Cobb doesn't care whether it's reality or not. His walk away from the top is not one because he is sure of reality, it's precisely because he doesn't care. Real or not, Cobb has accepted his fate. That's the end of the film. Arguing over the rest is somewhat pointless.
This post was edited on 7/24/10 at 8:33 pm
Posted by Geauxldineye
New Orleans, La
Member since Sep 2005
1345 posts
Posted on 7/24/10 at 8:31 pm to
quote:

At the end of the film Cobb doesn't care whether it's reality or not. His walk away from the top is not one because he is sure of reality, it's precisely because he doesn't care. Real or not, Cobb has accepted his fate. That's the end of the film. Arguing over the rest is somewhat pointless.


Exactamundo
Posted by GeauxZone90
Baton Rouge
Member since Jul 2010
3631 posts
Posted on 7/24/10 at 8:50 pm to
quote:

At the end of the film Cobb doesn't care whether it's reality or not. His walk away from the top is not one because he is sure of reality, it's precisely because he doesn't care. Real or not, Cobb has accepted his fate. That's the end of the film. Arguing over the rest is somewhat pointless.


Good interpretation. Would have never thought about it like that
Posted by rollthatback
Member since Jun 2008
3074 posts
Posted on 7/24/10 at 9:58 pm to
quote:

At the end of the film Cobb doesn't care whether it's reality or not. His walk away from the top is not one because he is sure of reality, it's precisely because he doesn't care. Real or not, Cobb has accepted his fate. That's the end of the film. Arguing over the rest is somewhat pointless.


This.

Perception is reality.
Posted by LakeViewLSU
Baton Rouge
Member since Jun 2009
17730 posts
Posted on 7/24/10 at 11:07 pm to
quote:

At the end of the film Cobb doesn't care whether it's reality or not. His walk away from the top is not one because he is sure of reality, it's precisely because he doesn't care. Real or not, Cobb has accepted his fate. That's the end of the film. Arguing over the rest is somewhat pointless.


I think he cares whether his kids are real or not. At least that's what he said several times.
Posted by Freauxzen
Washington
Member since Feb 2006
38656 posts
Posted on 7/24/10 at 11:09 pm to
quote:

I think he cares whether his kids are real or not. At least that's what he said several times.


quote:

Perception is reality.
Posted by LakeViewLSU
Baton Rouge
Member since Jun 2009
17730 posts
Posted on 7/24/10 at 11:16 pm to
Yeah but his whole search for reality was based on finding his real kids and seeing their faces.

Posted by Geauxldineye
New Orleans, La
Member since Sep 2005
1345 posts
Posted on 7/24/10 at 11:16 pm to
I am surprised Cs hasn't shown up yet
Posted by Freauxzen
Washington
Member since Feb 2006
38656 posts
Posted on 7/24/10 at 11:20 pm to
quote:

Yeah but his whole search for reality was based on finding his real kids and seeing their faces.


That doesn't change the end though. He spins the top deliberately like he has all through the film. Then he just walks away, not caring about the finality of what it says. Not knowing if it is real or not is enough reality for him.
Posted by LakeViewLSU
Baton Rouge
Member since Jun 2009
17730 posts
Posted on 7/24/10 at 11:24 pm to
He probably realized that he didnt need the top any more. He had his real kids, frick a totem.
Posted by Freauxzen
Washington
Member since Feb 2006
38656 posts
Posted on 7/24/10 at 11:27 pm to
quote:

He probably realized that he didnt need the top any more. He had his real kids, frick a totem.


But he's never sure it's reality, THAT'S why he spins the top.
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