Inception

Film talk.

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AngelBaby
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Inception

Post by AngelBaby » 19 Jul 2010 10:18

EPIC.

I think I picked a good one to finally lose my IMAX virginity.
^_^

Smiley
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Re: Inception

Post by Smiley » 19 Jul 2010 11:45

Best movie seen in a very, very long time. KInda wondered how David Fincher would have done this movie with the same cast & script...

smash
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Re: Inception

Post by smash » 19 Jul 2010 17:59

Can asians even see in Imax? Or do they see better than the round eyes? :P

Plz don't ruin. I practically have a hard on thinking about this movie.

Dex
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Re: Inception

Post by Dex » 19 Jul 2010 20:22

I was going to wait and reserve my opinion for a special pen0r-endowed individual on Monday, but I guess the proverbial cat is out of the proverbial bag. It was the greatest movie I've seen since Fight Club.

And Fight Club is my #1 movie of all time.

That is all I have to say for now.






:|




Also - I seriously woke up the day after (Sunday) and thought for a second; am I awake now? It hurt my brain.
“Also, mouth-to-mouth causes AIDS” - Zilch 5/18/2010

gulliver
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Re: Inception

Post by gulliver » 20 Jul 2010 16:00

I thought it was amazing too. Can Nolan do no wrong? He's good at writing as he is at directing.

UncleMao
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Inception

Post by UncleMao » 26 Jul 2010 12:45

Is the best movie ever in the history of movies

all this other shit

not so much

smash
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Re: Inception

Post by smash » 26 Jul 2010 19:13

Mao you also loved GI Joe...

I finally did see this movie Saturday. I thoroughly enjoyed it; especially the layered realities and all the artistic aspect within.

Surprisingly, I am completely unconcerned with the 'is it?' ending. It just didn't even register on my radar as a question worth pondering. Which is completely unlike me; I still debate/discuss the ending of Memento and what it all means.

UncleMao
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Re: Inception

Post by UncleMao » 27 Jul 2010 10:37

That's because by the virtue of the story structure, you can leave the story as it is told and it works on that level as well. It's not like memento where failing to revisit the material again leaves a person thinking that they seriously missed something. Inception does somewhat end on a happy end so there is less inclination to have to go through it again

As long as you can leave the ambiguous nature of the top.

The way the film's structured there are at least 6 different basic approaches to how one interprets the events that unfold.

Simple example is just that last scene. There are 3 ways to read Leo leaving the spinning top shot to go to his kids. The thing to remember is Nolan really does love an "Elegant solution" to the way he structures things

A: The top falls. Leo is in reality
B: The top wobbles but keeps spinning. Leo is in fact trapped in a dream
C: The totem does something or the other. But is in no way important. Because the totem is really Mal's and not his. And thus is not a reliable indicator of where he actually is.
D: Leo leaves the spinning top. By leaving the totem behind, he signals his new found desire to only be where he is happiest. Not caring if it is in a dream or in reality.

I actually subscibe to B and D. Leo is trapped in limbo. But it's a limbo where his children never age but where he can be with them. Which is all he's wanted all along.

AngelBaby
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Re: Inception

Post by AngelBaby » 27 Jul 2010 11:43

UncleMao wrote:A: The top falls. Leo is in reality
B: The top wobbles but keeps spinning. Leo is in fact trapped in a dream
C: The totem does something or the other. But is in no way important. Because the totem is really Mal's and not his. And thus is not a reliable indicator of where he actually is.
D: Leo leaves the spinning top. By leaving the totem behind, he signals his new found desire to only be where he is happiest. Not caring if it is in a dream or in reality.

I actually subscibe to B and D. Leo is trapped in limbo. But it's a limbo where his children never age but where he can be with them. Which is all he's wanted all along.
I sincerely hope that no one who hasn't seen the film is reading this thread. Having said that, it's A (with a healthy dose of D) for me.

Cobb wears his wedding band only when he is in the dreamworld (representative of his subconscious being unable to let go of his wife?). In the final scene he is not wearing it. However, even this can be seen as ambiguous. Is this symbolic of his subconscious finally letting go of his wife (as seen in his final scene with her projection) or is it meant to prove that he is in the real world (where he was never shown wearing the ring). Also, the top never wobbled in the dreamworld, it spun perfectly, thus acting as effective proof that one was in a place where the laws of physics were not being strictly obeyed. He doesn't look at the top after he sees his kids, because he is no longer obsessed with which world he is in, as long as he can be with them and be happy. However, I don't think he is with them in the dreamworld, because his projections of them will ultimately be as imperfect as the one his subconscious created of his wife, and he had just proclaimed how hollow and unsatisfying that was. Also, I think the fact that he never saw the faces of his kids in the dream world had great significance, almost as though they were his totem. One would imagine that a father would be able to look in the eyes of his children and know instinctively whether or not they were real. I like the happy ending, because I want to believe that Cobb got back home to his kids, and because I don't think Nolan would screw with his audience to the degree of having Cobb stuck in limbo.

Dex
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Re: Inception

Post by Dex » 27 Jul 2010 12:30

C for me.

In my personal opinion, the end is a Schrodinger's cat paradox. The top is both spinning and not spinning.

Cobb's top ftw
“Also, mouth-to-mouth causes AIDS” - Zilch 5/18/2010

smash
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Re: Inception

Post by smash » 27 Jul 2010 12:56

Dex wrote:C for me.

In my personal opinion, the end is a Schrodinger's cat paradox. The top is both spinning and not spinning.

Cobb's top ftw

Exactly.

Dex
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Re: Inception

Post by Dex » 27 Jul 2010 13:42

Reverse inception?

Image
“Also, mouth-to-mouth causes AIDS” - Zilch 5/18/2010

UncleMao
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Re: Inception

Post by UncleMao » 27 Jul 2010 15:46

Omg symbolic breakthru ftw!!

The spinning top is a repeated motif at the end is a mirror of the scene where Cobb spins the top and closes it in Mal's safe of unconsciousness.

The idea of Cobb doing it was the intent of planting the seed of doubt in Mal's mind. IE, making her the unwitting victim of Inception.

So thus, by the end. The symbol of the top really pulls the themes together by at last making the audience finally experience the full effect of what inception feels like. The sowing of a seed of doubt that grows to become a whole set of circumstances by which they view the story.

Which means the answers don't really matter. The very act of making you question has made the films inception of you, complete.

So if you then follow the film threads where Cobb is urged to take a leap of faith, if you as an audience do so with a story thesis that makes you happy then whatever the "real" truth is, hardly matters

Sneaky sneaky Nolan.

Dex
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Re: Inception

Post by Dex » 27 Jul 2010 17:28

I take back every bad thing I've ever said about Mao.

:|
“Also, mouth-to-mouth causes AIDS” - Zilch 5/18/2010

AngelBaby
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Re: Inception

Post by AngelBaby » 27 Jul 2010 23:07

UncleMao wrote:Sneaky sneaky Nolan.
Yes, the entire film is very meta. One could argue that on one level Nolan is pointing out how all movies are essentially a "shared dream" in which the audience is brought into a world created by someone else and asked to let it become their new reality for a brief time, while many of the same rules apply. Unless a dramatic movie is just over the top from the beginning, one can be jolted out of being completely absorbed by a film if the characters do something that doesn't fit with reality; this happened to me while watching Salt last weekend.

Someone else pointed out that every character in the film was analogous to a person involved in making a Hollywood movie. Cobb was the director, Arthur the producer, Ariadne the screenwriter, Eames the actor, Yusef the technical wiz, Saito the big money investor, and Fischer is the audience. I don't know if this was intentional on Nolan's part, or merely the creative thinking of a reviewer, but it's another interesting layer to consider in a movie that had many.

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