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Inception - Chris Nolan tops himself. Again.
- Thread starter el presidente Highsteppa
- Start date
basketballjones
TRIBE Member
^LOL
i thought the same thing, why not go to mexico and sneak in, grab the damn kids, and sneak out
hell, the mexicans seem to be able to sneak in at will
he went through all that trouble so he could get over a murder rap?? with the loot these guys must have paid him for some jobs he should be able to hire a good freakin lawyer, i mean ppl get off for murder all the time
really fun ride though
i thought the same thing, why not go to mexico and sneak in, grab the damn kids, and sneak out
hell, the mexicans seem to be able to sneak in at will
he went through all that trouble so he could get over a murder rap?? with the loot these guys must have paid him for some jobs he should be able to hire a good freakin lawyer, i mean ppl get off for murder all the time
really fun ride though
slim charles
TRIBE Member
that picture above your post is awesomesauce.
and I totally agree with you... but then we wouldn't have the movie would we?
The film is good, not great.
Just finally saw this.
Read the other theories regarding level 1,2,3 etc.
Here is my take, based on a few odd things I noticed.
At the "crux" of the movie is Cobb's regret at having (perhaps ostensibly) performed inception on his wife. This regret is the crux because it is key to their troubles and failings, and therefore plot progressions, in each of the levels. Ariadne reminds Cobb of his culpability in that regard quite a few times. (you know.. that he should warn the others about his troubled subconsiouc) "regret".
Then, there is Edith Piaf's "je ne regrette rien" being played, for some reason, as the reminder to "kick out". Why does the tune happen to be THIS tune, given infinite other possibilities?
Also, because I happen to like that tune, I noticed early on that the tune is playing or overheard in every single "layer" or scene. It was also playing in what was supposed to be the 'reality' layer. This implies there must be some higher level where the actual music is originating. THis higher level is never shown on screen.
Additionally there is the sound effect of, what you might call, "ripping" or "unravelling", which seems to indicate that a dream state is about to, well, unravel. This effect is present in every level displayed on screen (including the final scenes which are supposed to be real), further suggesting that we never actually see reality.
My take is that Cobb is somehow trying to "inceive" into himself a way out of his guilt and regret -- guilt of losing touch with reality, or causing his wife to lose touch with reality. In this sense he is lost in a recursion, like a benzene ring. This is indirectly hinted at as him being stuck in a maze (aka created by obvious nomenclature with Ariadne) but it is also explicity demonstrated by the rotating stairs to no where.
Cobb is stuck in a circle of dreams, symbolized by the stairs to nowhere, in an attempt to rid himself of his guilt. We never see reality and Cobb will never escape.
-jM
A&D
Read the other theories regarding level 1,2,3 etc.
Here is my take, based on a few odd things I noticed.
At the "crux" of the movie is Cobb's regret at having (perhaps ostensibly) performed inception on his wife. This regret is the crux because it is key to their troubles and failings, and therefore plot progressions, in each of the levels. Ariadne reminds Cobb of his culpability in that regard quite a few times. (you know.. that he should warn the others about his troubled subconsiouc) "regret".
Then, there is Edith Piaf's "je ne regrette rien" being played, for some reason, as the reminder to "kick out". Why does the tune happen to be THIS tune, given infinite other possibilities?
Also, because I happen to like that tune, I noticed early on that the tune is playing or overheard in every single "layer" or scene. It was also playing in what was supposed to be the 'reality' layer. This implies there must be some higher level where the actual music is originating. THis higher level is never shown on screen.
Additionally there is the sound effect of, what you might call, "ripping" or "unravelling", which seems to indicate that a dream state is about to, well, unravel. This effect is present in every level displayed on screen (including the final scenes which are supposed to be real), further suggesting that we never actually see reality.
My take is that Cobb is somehow trying to "inceive" into himself a way out of his guilt and regret -- guilt of losing touch with reality, or causing his wife to lose touch with reality. In this sense he is lost in a recursion, like a benzene ring. This is indirectly hinted at as him being stuck in a maze (aka created by obvious nomenclature with Ariadne) but it is also explicity demonstrated by the rotating stairs to no where.
Cobb is stuck in a circle of dreams, symbolized by the stairs to nowhere, in an attempt to rid himself of his guilt. We never see reality and Cobb will never escape.
-jM
A&D
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Further evidence that Cobb is lost in a recursion is when he asks (near the beginning) Ariadne to develop a maze from which he cannot escape. Her first attempts are rectangular and Cobb escapes easily. She only succeeds at the challenge by creating a circular maze.
-jM
A&D
-jM
A&D
My issue with all these interpretations is that they're hinged on the proposition that the entire movie could just be "haha it was all a dream (in a dream(in a dream...)))" ad infinitum. That to me is a failure of the movie, not a strength. You have movies with very definite and solid plot lines (queue the Matrix) while still opening huge interpretations on their symbolism and other devices.
If you can amount anyone's theory of Inception to "It was all a dream" then you're reducing the movie to a cheap trick. If you're buying the premise and swallowing the spoonfuls of exposition along the way I will agree perhaps you're missing some of the mystique in the movie but this whole thing reeks of atheists when really you're just agnostics at best.
If you can amount anyone's theory of Inception to "It was all a dream" then you're reducing the movie to a cheap trick. If you're buying the premise and swallowing the spoonfuls of exposition along the way I will agree perhaps you're missing some of the mystique in the movie but this whole thing reeks of atheists when really you're just agnostics at best.
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Just saw it this weekend, here's my take:
Cobb went into a coma when he saw Mal jump to her death. His mind couldn't take it.
You could play on the "how did we get here?" question he asks his new architect as referring to the whole story.
The whole movie his friends/partners/father are trying to wake him up.
Ellen Page is brought in because she's a student of his father's who finally has the idea on how to get him out of his own subconcious.
Of course that's after 1 viewing.
Cobb went into a coma when he saw Mal jump to her death. His mind couldn't take it.
You could play on the "how did we get here?" question he asks his new architect as referring to the whole story.
The whole movie his friends/partners/father are trying to wake him up.
Ellen Page is brought in because she's a student of his father's who finally has the idea on how to get him out of his own subconcious.
Of course that's after 1 viewing.
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Hi i'm God
TRIBE Member
But not necessary.
WestsideWax
TRIBE Promoter
This just came out on DVD.
My take:
Now Inception, Im really happy for you, and imma let you finish, but the Vedas had one of the best dreams-within-a-dream-within-a-dream of all time...
My take:
Now Inception, Im really happy for you, and imma let you finish, but the Vedas had one of the best dreams-within-a-dream-within-a-dream of all time...
junglisthead
TRIBE Member
someone put cobb under to find out what really happened to his wife ! the end
Bernnie Federko
TRIBE Member
ten bucks
workdowntown
TRIBE Member
The entire movie is about 'incepting' the audience. It's about the shared dream that the movie (and movies in general) creates between director and audience, the characters are projections of Nolan's/The writer's (or Architect's) subconscious and we populate their backgrounds/characteristics with our own imagination.
Nolan built the structure, letting our minds flesh out the other details and left the ending obviously open to our imagination to decide whether we think X or Y about Cobb but in reality it is the viewer who has been dreaming/fantasising the whole time and sharing that dream with everyone else viewing it.
My 2¢.
Nolan built the structure, letting our minds flesh out the other details and left the ending obviously open to our imagination to decide whether we think X or Y about Cobb but in reality it is the viewer who has been dreaming/fantasising the whole time and sharing that dream with everyone else viewing it.
My 2¢.
Saw this last night. Enjoyed way more then I thought I would.
Had some neat conversations with a few friends afterwords about the movie.
The one thing I'm not buying into is that it is all just his dream, I noticed somebody above and one of my friends had the same idea. My thoughts on that is that, much like when he tells pages character, how did we get here? and that in dreams you sort of just drop in the middle. Isn't it also the same with the thought that you are always in your own dream? I may be wrong about this, however IF it was all just Cobb stuck in his own dream world, wouldn't he have to be in every scene?
Had some neat conversations with a few friends afterwords about the movie.
The one thing I'm not buying into is that it is all just his dream, I noticed somebody above and one of my friends had the same idea. My thoughts on that is that, much like when he tells pages character, how did we get here? and that in dreams you sort of just drop in the middle. Isn't it also the same with the thought that you are always in your own dream? I may be wrong about this, however IF it was all just Cobb stuck in his own dream world, wouldn't he have to be in every scene?