From this point of view, it is very curious that a film that tells of how an idea is implanted in a person's head any, will be able to do exactly this: Inception is both the object of the staging and the effect of vision. From the room comes, inevitably, with a head full of new ideas, and can not be a coincidence. It 's just one of many levels of interpretation of the Chinese box packed by Nolan.
- NB. The following discussion contains plot elements, so it strongly recommended reading to anyone who had not yet seen the film. -
Think about the concept of Inception seen as a metaphor of film art itself, frequently analyzed in the reviews and interpretations put on paper "official" and amateur. Cobb director, writer Ariadne, Saito producer, the rest of the team split between technicians and actors, the audience Fischer. They plan (film) dream up a blackboard with the preview of the models, make the visits, and then take, we leave, just as it does in Hollywood. Here is a second level of interpretation of the work.
But let's get to real juice of this discussion: the final scene of the film inevitably raises many questions. The camera moves from the top few seconds before what should be the final answer big raises each time murmurs of disappointment and half-smiles. It 's a trick? E 'lack of courage in giving the work a real ending? Or is it just the spark to a further level of interpretation? Why Inception, and here we enter the sphere of my personal opinion, is a dream. All a dream. Nothing would make sense otherwise, the whole story would not be standing. And the clues are scattered everywhere, at that level for as long as we believe is reality. Consider, for example in pursuit on foot through the streets of Mombasa, in which Cobb slips between two buildings so close that trap it in a vise, classical metaphor and dream representation of panic, internal oppression. Or the dialogue with his father, Mal, who often intimate Cobb to wake up, get out of the dream, as his wife asks him if he does not he likes a bit 'strange' and unnamed assassins chase him up and down the globe, whether it is simply a projection of her fears, strain into a dream. Moving on to the scene of the suicide of Mal, where we see her sitting on the ledge of a hotel room mirrors the one where is Cobb. The representation of the separation between the two is clearly metaphorical, would not make sense for her to be in another room. Speaking of Mal, his was the top that Cobb was elected to his totem, which he believes to be a reliable indication of the state of dream or reality. But on reflection, where we saw the top all the time? In the dream shared by Cobb and Mal. The top itself is not ever existed, is a construct, an element of the dream, and it makes no sense to have the Cobb with it in reality. Because the reality, for as long as we are never shown. The entire final sequence of the film, without transition from one place to another, without a word between the team members who have experienced such incredible, with the father of Mal that is mysteriously teleported from Paris to Los Angeles, Saito with that with only one phone call to Cobb clean criminal record, is clearly representative of a dream state, a kind of catharsis induced after a prolonged state of anxiety and suffering. You could also talk about character actors, little in-depth, stylized: no one asks questions, raises no particular objection if Ariadne, who has also accepted a job without knowing the least patently illegal cuffs. Everything is sparse, simplified from the mind of Cobb, who in the dream skips the normal human processes, already knowing the answers to questions that the constructs of his dream is therefore not arise. We come to the point. That the top is dropped, or not, it does not matter. Why all the long and convoluted journey is a journey into the labyrinth of the mind of Cobb. What has led to the dream articulated so cathartic and ultimately we can only imagine. In reality, what we see and we will never see his wife is really ol'ha died just left? And the children? They ran, they are alive? The same Cobb could be much older as we see in the film. But all this does not matter. What matters is that the whole development is, by the always questionable in my opinion, a dream produced by the mind of a desperate man, seeking a redemption that can only be found in his head, a catharsis necessary to continue to live (or die in peace), and therefore possible that even if only in a long hallucination.
And so we come to the final level of analysis, before the football synchronized us back to the surface: Inception is a dream, he is a dream. It 's the dream of Nolan, in which we are drawn just as Fischer, from which we come out with a head full of ideas that two and a half hours before they were ours, they were someone else, were Nolan. The idea that to reach catharsis and redemption for the mistakes in what we call reality, sometimes it is sufficient to deal with themselves, in their heads. Forgive.
This is the magic of Inception. A call action movie disguised as a philosophizing, to call into question the Matrix, The Thirteenth Floor and the like, in my opinion it makes a big mistake. In the work of Nolan's much more than the shooting and special effects do not suggest. Why, just as explained in the film itself, if you play too much with the elements of a dream, if you overdo it, your mind will be less willing to accept the idea that you want to install. That's why Nolan to implant in our minds its language uses a deceptively simple and affordable for everyone.
is the real value of Inception: in a context where everything is a metaphor for all, where the keys are a lot of reading, I am sure that future visions I suggest a new level of interpretation beyond those summarized here, and will be many years before a film that makes me think back to these levels.
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