Inception movie warped reality
Instead, it's a very curt cut, assisted by a musical cue that's just as abrupt. Not to mention, when the spinning top scene comes in at the end of the film, it's not a fade, as the script suggested. We view this as a deliberate clue to Cobb's state.
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One scene that is left more intact is the Chemist scene, where the old man in the basement asks Cobb if he still dreams, as well as a cryptic reference to the dream becoming reality to the old men - as well as to Cobb, himself. Instead, their shared scenes feel more like the set up to bring Ariadne (Ellen Page) into the plot, which Nolan needed to keep the film going at a fair clip. Gone, for example, are any mentions to Professor Miles' wife, who left him because of his continued friendship with Cobb. But as mentioned before, a lot of the dialogue between Cobb (DiCaprio) and Professor Miles (Caine) is cut down to the basics, leaving much of Nolan's intention to interpretation. That stays true to what is in the script. The movie, on the other hand, is much more open-ended, in general, with what it has to say to its audience about the state that Cobb is in. Does the movie, itself, back this point up? The information trimmed from the aforementioned pivotal scenes would have helped audience draw the conclusion that Cobb is, in fact, dreaming - with the world reaching out to him to come back to reality. The actual stage direction, taken right from Nolan's script, says, "Behind, on the table, the spinning top is STILL SPINNING." Which is what we see in the film.īut taken with all of the analysis of conversations between Cobb, Saito, Mal and the professor, we believe that the top is, in fact, still spinning at the end of Inception because it's all a dream. What does Nolan's shooting script say, with regard to the spinning top? Essentially, what you see on the screen. The twist is that this "home" is in his mind, neatly wrapped up in a beautifully shot and edited package, similar to the way he's envisioned his children throughout the film. By the end of the Saito job, Cobb's dream reality has exorcised his marital issues in a sense that he does find his way home at the end of the film. The job that Ken Watanabe's Saito hires him for is a gigantic exercise in catharsis for his addled mind, using his work and his skills to build himself an ideal reality. In truth, the underlying message as we interpret it of the scenes mentioned above is that Cobb is actually still dreaming, and in the end, his dreams are his new home. The way the film is set up, Inception is a story about a man trying to get home to his children. Scenes like these distract from the storyline we all perceive Inception to be about, though. It's my conclusion that Professor Miles sees Cobb as a dreamer who refuses to wake up, much like the men in the underground parlor during an earlier scene shared with Yusef (Dileep Rao), the chemist.
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But looking at some of the key lines of dialogue shared by Saito (Ken Watanabe) and Mal (Marion Cotillard) - particularly the "leap of faith" both characters tell Cobb to take - and the recurring mention of an "old man, filled with regret" would have us believe a different story. Now, taken at face value, Cobb's "freedom" seems to mean freedom from the factors that prevent him from ever going home again. Professor Miles, on the other hand, feels that dragging student Ariadne (Ellen Page) into the dream world that he's trying to create would be akin to her "following into fantasy." Preceding this conversation is Cobb's insistence that his one last job would "free him" from the guilt and criminal charges surrounding his wife's suicide, which has messed with his subconscious to the point where he sees his deceased wife (aptly named Mal) sabotaging any dream he creates. This leads him to his mentor and ex-father in law, the Professor (Caine), who pleas for Cobb to abandon this work and "come back to reality." Pages 25-28 in the Inception shooting script (which you can purchase here (opens in new tab)) feature the scene in question, which finds Cobb looking for a new architect, in hopes of designing a dream that his subconscious can't sabotage.