I find it strange that the children have not aged at all, even after Cobb has spent what seems like so long on the run. Given how they shared so much time together building their own world, perhaps Mal is right, and he is still trapped within their shared dream. If you accept that Cobb is being chased by somebody’s subconscious in Mombasa, that means he’s trapped in a subconscious that isn’t his – or at least isn’t entirely his. Isn’t that entirely risky, since she knows the balance of it herself (and therefore, her subconscious does?). It’s interesting that Cobb has taken to using Mal’s totem to confirm that he’s in reality. There is no top, because whenever you reach the last step, the first step is waiting for you again. Stairs that always head up, but always circle back on themselves. However, the film is structured in such a way as to avoid lines – it’s more interested in circles and cycles, feedback loops and impossible stairways. You can go deeper by sleeping and move back up by waking up. Indeed, the film works on the basic premise that the subconcious mind is layered. It lends a sort of wonderful fractured feel to the narrative. Just like this particular film.ĭuring the ‘waking’ scenes, Nolan uses film cuts to great effect – actors change positions occasionally (again, note that confrontation between Cobb and Ariadne).
It was as simple as a film cut. Nolan seems to emphasise that films and dreams share the same sort of visual cues – the same storytelling shortcuts. Indeed, he also observes that dreams don’t ramp up – they typically start in the middle. One minute they were talking and then they were there. There’s a magical moment during Cobb’s “interview” with Ariadne when he asks how they got to the café – she can’t remember. As Cobb runs through Mombasa, the city is constructed like a maze (the walls seem to physically close in on him). There are moments in the waking world (particularly in Paris) where there are loud ambient noises (much louder than they probably should be), which sound like the music filtering down through several layours of subconscious (stretched through time distortion). In any other movie, her arguments would be shallow and superficial, a necessary gimmick – a moment of mandatory self-doubt for the hero at the climax of the movie. There’s a pivotal scene at the climax, where Mal tries to convince her husband that he never left their dream – she cites little things that I myself had noticed (secret agents chasing Cobb who look and act like defensive subconscious constructs through the streets of Mombasa, for example).
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And I respect Nolan for leaving it open, in the same way that Shutter Island left the movie open with its own final lines. We’ll never know whether Cobb was awake or actually dreaming – hell, even myself and the better half have a respectful disagreement going on about – but that’s the point.
Some will call it a cop-out, a cheap gimmick and a manipulative stunt, while others will consider it perfectly in keeping with the tone and mood of the film. Indeed, I can see that last shot – Cobb’s totem, spinning and spinning, and maybe slowing down (but not enough to be sure) – being hugely divisive. Those were two of the many thoughts running through my head as the final image of Inception nestled itself into my subconscious. “Was the ending a dream?” “Was the whole film a dream?”
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But feel free to pop back after you’ve had a chance to view the film. Note: As mentioned above, this article will contain spoilers.
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