Fallon wrote:Wasn't until my third viewing that I realized why Arthur initially placed the charges on the ceiling of the fist hotel room (the kick).
which is what?? I've watched it only once yet...n I'm afraid even I didn't catch that....
Inception; 2nd time was also my 1st
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which is what?? I've watched it only once yet...n I'm afraid even I didn't catch that....
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Ariadne and Arthur initially enter room 491, Arthur asks "are you sure this room is below 528?" then he begins to set the charges on the ceiling. The plan was to detonate these charges and bring the dreamers through the floor providing the 'kick.' Since they entered free fall, Arthur had to improvise ("how can I drop you without gravity?") by removing the charges and placing them on the elevator cables.manithirani wrote:Fallon wrote:Wasn't until my third viewing that I realized why Arthur initially placed the charges on the ceiling of the fist hotel room (the kick).
which is what?? I've watched it only once yet...n I'm afraid even I didn't catch that....
which is what?? I've watched it only once yet...n I'm afraid even I didn't catch that.... [/quote]
Ariadne and Arthur initially enter room 491, Arthur asks "are you sure this room is below 528?" then he begins to set the charges on the ceiling. The plan was to detonate these charges and bring the dreamers through the floor providing the 'kick.' Since they entered free fall, Arthur had to improvise ("how can I drop you without gravity?") by removing the charges and placing them on the elevator cables.[/quote]
Brilliant. That would have been a 6th viewing for me.
But the whole point of this thread for me was that when I went back to watch it...I wasnt sure I payed attention AT ALL during the first one. I mean, I missed significant plot points. I didnt realize that I didnt understand the whole thing, and in fact, for some reason, I thought maybe they were incepting into Saito....I dont know what I thought when I first saw it. But Halfway through the 2nd viewing, I was like "*sadface* i dont like this as much." but after it ended, i let it brood a little, and now i love it even more.
the first viewing, my heart was in my lap with excitement. my 2nd viewing was much much MUCH more subdued and i wasnt so caught up in the action...i was able to listen to dialogue more closely.
[/quote]Ariadne and Arthur initially enter room 491, Arthur asks "are you sure this room is below 528?" then he begins to set the charges on the ceiling. The plan was to detonate these charges and bring the dreamers through the floor providing the 'kick.' Since they entered free fall, Arthur had to improvise ("how can I drop you without gravity?") by removing the charges and placing them on the elevator cables.[/quote]
Brilliant. That would have been a 6th viewing for me.
But the whole point of this thread for me was that when I went back to watch it...I wasnt sure I payed attention AT ALL during the first one. I mean, I missed significant plot points. I didnt realize that I didnt understand the whole thing, and in fact, for some reason, I thought maybe they were incepting into Saito....I dont know what I thought when I first saw it. But Halfway through the 2nd viewing, I was like "*sadface* i dont like this as much." but after it ended, i let it brood a little, and now i love it even more.
the first viewing, my heart was in my lap with excitement. my 2nd viewing was much much MUCH more subdued and i wasnt so caught up in the action...i was able to listen to dialogue more closely.
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wow, how did you miss those things? I guess you were severely distractedsickofsickness wrote:OH OH AND ANOTHER THING THAT WAS RIGHT OVER MY HEAD THE FIRST TIME:
Tom Hardy'sI guess the sudden realization of this things caused me to laugh out loud in relief for picking up on it.
Yeah. Then again, I was paying closer attention to the reflections in the mirror and such. Like I said, my mind was mush.JonnyT23 wrote:wow, how did you miss those things? I guess you were severely distractedsickofsickness wrote:OH OH AND ANOTHER THING THAT WAS RIGHT OVER MY HEAD THE FIRST TIME:
Tom Hardy'sI guess the sudden realization of this things caused me to laugh out loud in relief for picking up on it.
Going to see it again Monday or Tues maybe. And for sure next weekend, just to spite the Joile movie. 
The big Imax show was way awesome.
The big Imax show was way awesome.
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After a second viewing, here are my thoughts:
The idea of 'Inception' is to be a story crafted in the architecture of the mind - Cobb's mind. What people perceive to be real isn't necessarily so, because the mind can make things appear to be as real as ever. An important thing to remember is the start of the film. Dom Cobb wakes up in a place that we later find out to be limbo – more importantly, Saito's limbo.
What happens next is something that is meaningless the first time a viewer watches the film. Saito is seen handling Cobb's totem (which was a top that he took from Mal while in limbo). At first, this is meaningless. Upon a second viewing, the viewer should realize that everything that happens after this scene (the jump cut to Cobb's attempt at extracting information from Saito, and so on) is something much deeper.
Saito promises to give Cobb the one thing that he wants, and that's to find the way back home. How does he convince Cobb to do this? He tells him to "take a leap of faith." This is another line that goes unnoticed at first. On a second viewing, the viewer should remember that line as something that Mal told Cobb when she jumped off of the building. Is the picture becoming clearer yet?
Cobb seems to appear wherever he needs to go, whether it is Paris, or Mombasa, just like it were a dream. While in Mombasa, Cobb gets chased by anonymous agents (which he perceives to be Cobol agents) through a fantastic action sequence where Cobb escapes the dream-like narrow tunnel and is rescued by none other than Saito. A bit later, Cobb and Saito visit Yusef who brings them into a basement with various figures connected to the dream machine. The idea was for Cobb to experiment with the deep sedative. He does, and when he "wakes up" he tries to use his totem only to be interrupted by Saito. Cobb never does find out if he is in the real world or not. In fact, he hasn’t been yet. He’s been in limbo ever since he got there with Mal. Ever since then, he's been going deeper and deeper to the point where he created Saito as a projection to help him "get back home" - Did you really think Saito can just pick up the phone and make murder charges disappear? No. But, Cobb believes it and thus Saito is used to thrust Cobb further and further into a state of limbo – where at the end of the journey, Cobb truly believes he is with his children after confronting and getting over his projection of Mal.
While in the limbo, Cobb, using Mal's totem, put the idea in her head that she was in the dream world. She was, she just hadn’t realized it yet. What the viewer forgets is that all knowledge of limbo comes from Cobb's character. To think that Cobb is 100% accurate about it is absolutely wrong. He wouldn't know dream from reality – not in the limbo that he describes to people – and definitely not if inception were performed on him to believe that limbo truly was the real world.
Mal and Cobb never really left limbo at least, not that layer of it. When Mal jumped off the building, she gave herself the very same "kick" that Ariadne improvised later on in the movie. Mal was right about still being in the dream world. Cobb was still engulfed in limbo and didn't realize it. When Cobb and Mal had killed themselves with the train, they simply moved one layer deeper just like Saito did when he was killed, Fischer did when he was killed, and so on (this happens again at the end of the film when Saito picks up the gun in front of Cobb).
Cobb, deep in limbo, unknowingly uses the projections of his team to keep going deeper and deeper until the idea of inception is performed on his mind, and he truly believes he was able to find a way back home. Saito's promise to Cobb was kept - in the form of Saito (a projection from Cobb) making sure that Cobb ended up in limbo, so that he could live his "life" with his kids (who are in the same position as they were all throughout the film).
The team were projections in Cobb's mind the entire time. It's how he was able to go to Miles in Paris and find an architect named Ariadne (a name which comes from a Greek mythology story about a labyrinth) who improvised the "kick" at the end of the movie the same way that Cobb had seen (but not accepted as a dream) Mal do previously when she jumped off the building. It's how Eames happened to know of Yusef, and so on and so forth. Everything Cobb needed to make this inception work happened to work out for him. It's even how Cobb's lawyer knew so quickly that Mal had gone to 3 different shrinks to be declared "sane" and how he happened to have two tickets for Cobb to be able to get out of the country before the police would have arrested him.
The movie ends with Cobb appearing from place to place, going from limbo with Saito, to the plane where Saito magically makes one phone call to free Cobb from his problems, to walking through the airport, to meeting Miles who is with Cobb's children. Cobb spins his totem and it spins just like it was a dream. He fixes his eyes on his children and the totem begins to lose speed – this is because inception has worked – Cobb truly believes he is in the real world. His totem will not spin like it did in the dream, not as long as he has his kids. The title of the film is now shown to us, making complete sense because the title was really Cobb's journey through his own mind: INCEPTION
--------------------------------
In my humble opinion, I believe that Nolan is a true master of his craft and I can see how all of his films have been building up to this particular story. In fact, I'm starting to recognize similarities between Cobb and Leonard from Momento. If you think about it, both characters suffer horrible tragedies and are forced to live a lie in order to maintain some type of meaning, or normalcy in their lives. In fact, you can even draw comparisons to batman, as he also faced a significant tragedy and then lives a dual life in order to find balance and meaning in his life.
One thing that's been bothering me is all the criticism this movies been receiving due to plot holes and inconsistencies in the rules as well as the story telling. Looking back at Nolan's history, I think it's clear that he uses misdirection and confusion in all of his movies (on some level), in order to pull you in the mind of his characters. In fact, I watched an interview of his where he compares his movies to traveling through a maze. But unlike other movies, he wants viewers to experience the maze through his charcters eyes.
For instance in Memento, Nolan tells the story backwards in order to misdirect and confuse the audience into experiencing Leonards world through his eyes. In Memento, Nolan is very obvious with this technique and it's almost as if he's training us for what's to come. As Nolan refines his craft, he becomes more subtle with his art of confusion. Take the Prestige for example. You can watch that movie the first time and then walk away with an entirely different perspective after watching it a second time.
With Inception, he takes this to a whole new level. The fact that we're inside Cobb's mind as he's falling deeper and deeper into his own dream world, means that we're at the Cobb's mercy when it comes to the rules. And he can change the rules whenever he needs to. What he says in one scene can totally contradict what happens in another. Why, because his only goal was to reach inception. In order to reach inception he had to trick his mind into believing that he was back with his family in the real world. Because we're along for the ride in Cobb's mind things seem confusing when viewing the movie the first time. But when you step back after multiple views, you can see that tricking the mind is the only way to fully reach Inception. In fact, this theory is supported in a scene between Arthur and Ariadne. This is the scene in the warehouse where he tells her how it's interesting that Cobb has all these rules, but doesn't actually follow them himself. It's become clearly obvious to me and I completely agree that we're not supposed to take all of Cobb's exposition about the dream world and limbo literally.
Nolan is an absolute genius! We are very lucky to be living in a time where we have a director that's willing to challenge us on so many levels. It's just a shame that not everyone will be able to reach this conclusion due to their inability to read between the lines.
The idea of 'Inception' is to be a story crafted in the architecture of the mind - Cobb's mind. What people perceive to be real isn't necessarily so, because the mind can make things appear to be as real as ever. An important thing to remember is the start of the film. Dom Cobb wakes up in a place that we later find out to be limbo – more importantly, Saito's limbo.
What happens next is something that is meaningless the first time a viewer watches the film. Saito is seen handling Cobb's totem (which was a top that he took from Mal while in limbo). At first, this is meaningless. Upon a second viewing, the viewer should realize that everything that happens after this scene (the jump cut to Cobb's attempt at extracting information from Saito, and so on) is something much deeper.
Saito promises to give Cobb the one thing that he wants, and that's to find the way back home. How does he convince Cobb to do this? He tells him to "take a leap of faith." This is another line that goes unnoticed at first. On a second viewing, the viewer should remember that line as something that Mal told Cobb when she jumped off of the building. Is the picture becoming clearer yet?
Cobb seems to appear wherever he needs to go, whether it is Paris, or Mombasa, just like it were a dream. While in Mombasa, Cobb gets chased by anonymous agents (which he perceives to be Cobol agents) through a fantastic action sequence where Cobb escapes the dream-like narrow tunnel and is rescued by none other than Saito. A bit later, Cobb and Saito visit Yusef who brings them into a basement with various figures connected to the dream machine. The idea was for Cobb to experiment with the deep sedative. He does, and when he "wakes up" he tries to use his totem only to be interrupted by Saito. Cobb never does find out if he is in the real world or not. In fact, he hasn’t been yet. He’s been in limbo ever since he got there with Mal. Ever since then, he's been going deeper and deeper to the point where he created Saito as a projection to help him "get back home" - Did you really think Saito can just pick up the phone and make murder charges disappear? No. But, Cobb believes it and thus Saito is used to thrust Cobb further and further into a state of limbo – where at the end of the journey, Cobb truly believes he is with his children after confronting and getting over his projection of Mal.
While in the limbo, Cobb, using Mal's totem, put the idea in her head that she was in the dream world. She was, she just hadn’t realized it yet. What the viewer forgets is that all knowledge of limbo comes from Cobb's character. To think that Cobb is 100% accurate about it is absolutely wrong. He wouldn't know dream from reality – not in the limbo that he describes to people – and definitely not if inception were performed on him to believe that limbo truly was the real world.
Mal and Cobb never really left limbo at least, not that layer of it. When Mal jumped off the building, she gave herself the very same "kick" that Ariadne improvised later on in the movie. Mal was right about still being in the dream world. Cobb was still engulfed in limbo and didn't realize it. When Cobb and Mal had killed themselves with the train, they simply moved one layer deeper just like Saito did when he was killed, Fischer did when he was killed, and so on (this happens again at the end of the film when Saito picks up the gun in front of Cobb).
Cobb, deep in limbo, unknowingly uses the projections of his team to keep going deeper and deeper until the idea of inception is performed on his mind, and he truly believes he was able to find a way back home. Saito's promise to Cobb was kept - in the form of Saito (a projection from Cobb) making sure that Cobb ended up in limbo, so that he could live his "life" with his kids (who are in the same position as they were all throughout the film).
The team were projections in Cobb's mind the entire time. It's how he was able to go to Miles in Paris and find an architect named Ariadne (a name which comes from a Greek mythology story about a labyrinth) who improvised the "kick" at the end of the movie the same way that Cobb had seen (but not accepted as a dream) Mal do previously when she jumped off the building. It's how Eames happened to know of Yusef, and so on and so forth. Everything Cobb needed to make this inception work happened to work out for him. It's even how Cobb's lawyer knew so quickly that Mal had gone to 3 different shrinks to be declared "sane" and how he happened to have two tickets for Cobb to be able to get out of the country before the police would have arrested him.
The movie ends with Cobb appearing from place to place, going from limbo with Saito, to the plane where Saito magically makes one phone call to free Cobb from his problems, to walking through the airport, to meeting Miles who is with Cobb's children. Cobb spins his totem and it spins just like it was a dream. He fixes his eyes on his children and the totem begins to lose speed – this is because inception has worked – Cobb truly believes he is in the real world. His totem will not spin like it did in the dream, not as long as he has his kids. The title of the film is now shown to us, making complete sense because the title was really Cobb's journey through his own mind: INCEPTION
--------------------------------
In my humble opinion, I believe that Nolan is a true master of his craft and I can see how all of his films have been building up to this particular story. In fact, I'm starting to recognize similarities between Cobb and Leonard from Momento. If you think about it, both characters suffer horrible tragedies and are forced to live a lie in order to maintain some type of meaning, or normalcy in their lives. In fact, you can even draw comparisons to batman, as he also faced a significant tragedy and then lives a dual life in order to find balance and meaning in his life.
One thing that's been bothering me is all the criticism this movies been receiving due to plot holes and inconsistencies in the rules as well as the story telling. Looking back at Nolan's history, I think it's clear that he uses misdirection and confusion in all of his movies (on some level), in order to pull you in the mind of his characters. In fact, I watched an interview of his where he compares his movies to traveling through a maze. But unlike other movies, he wants viewers to experience the maze through his charcters eyes.
For instance in Memento, Nolan tells the story backwards in order to misdirect and confuse the audience into experiencing Leonards world through his eyes. In Memento, Nolan is very obvious with this technique and it's almost as if he's training us for what's to come. As Nolan refines his craft, he becomes more subtle with his art of confusion. Take the Prestige for example. You can watch that movie the first time and then walk away with an entirely different perspective after watching it a second time.
With Inception, he takes this to a whole new level. The fact that we're inside Cobb's mind as he's falling deeper and deeper into his own dream world, means that we're at the Cobb's mercy when it comes to the rules. And he can change the rules whenever he needs to. What he says in one scene can totally contradict what happens in another. Why, because his only goal was to reach inception. In order to reach inception he had to trick his mind into believing that he was back with his family in the real world. Because we're along for the ride in Cobb's mind things seem confusing when viewing the movie the first time. But when you step back after multiple views, you can see that tricking the mind is the only way to fully reach Inception. In fact, this theory is supported in a scene between Arthur and Ariadne. This is the scene in the warehouse where he tells her how it's interesting that Cobb has all these rules, but doesn't actually follow them himself. It's become clearly obvious to me and I completely agree that we're not supposed to take all of Cobb's exposition about the dream world and limbo literally.
Nolan is an absolute genius! We are very lucky to be living in a time where we have a director that's willing to challenge us on so many levels. It's just a shame that not everyone will be able to reach this conclusion due to their inability to read between the lines.
I just see it for a second time ... and I love it twice as much! How this is possible?!
An AMAZING movie!!!
And I like action scenes much more... including the snow part.
But... the opening music ... the action part in the japanese castle ... the chase in Mombasa ... the hotel hallway scene ... and the ending ...
I just fall in love!
Thank you Mr. Nolan ... for the sharing dream. Thank you for Inception!
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An AMAZING movie!!!
And I like action scenes much more... including the snow part.
But... the opening music ... the action part in the japanese castle ... the chase in Mombasa ... the hotel hallway scene ... and the ending ...
I just fall in love!
Thank you Mr. Nolan ... for the sharing dream. Thank you for Inception!
ty le ca cuoc|
vách ngăn trang trí phòng bếp|
vách ngăn gỗ sồi|
Last edited by ANONIMNIQ on December 4th, 2018, 5:57 am, edited 1 time in total.
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Wasn't until my third viewing that I realized why Arthur initially placed the charges on the ceiling of the fist hotel room (the kick).[/quote]
which is what?? I've watched it only once yet...n I'm afraid even I didn't catch that....[/quote]
Ariadne and Arthur initially enter room 491, Arthur asks "are you sure this room is below 528?" then he begins to set the charges on the ceiling. The plan was to detonate these charges and bring the dreamers through the floor providing the 'kick.' Since they entered free fall, Arthur had to improvise ("how can I drop you without gravity?") by removing the charges and placing them on the elevator cables.[/quote]
thanks man....i will now go into my second viewing more prepared...
which is what?? I've watched it only once yet...n I'm afraid even I didn't catch that....
[/quote]Ariadne and Arthur initially enter room 491, Arthur asks "are you sure this room is below 528?" then he begins to set the charges on the ceiling. The plan was to detonate these charges and bring the dreamers through the floor providing the 'kick.' Since they entered free fall, Arthur had to improvise ("how can I drop you without gravity?") by removing the charges and placing them on the elevator cables.[/quote]
thanks man....i will now go into my second viewing more prepared...
Posts: 236
Joined:
June 2010
This is a movie where repeat viewings are neccessary: not just on DVD, but in theatres. Yesterday I saw it for the second time of a planned three viewings in theatres. Some of the "wow" might not be there a second time around, but I am now able to understand and appreciate more the film that Nolan has put before us.
Something interesting that I took out of my repeat viewing: the entire first half of the film is my favorite part. Not to say that I didn't like the inception portion of the film, but in most heist films the part I dig most is the setup, introducing the characters, the target, the methods, etc. I guess its more personal than critical opinion.
Also the first time around, none of the characters jumped out as a 'favorite'. DiCaprio was the lead, and no offense, but lead parts are usually not my favorite. Michael Cain was great for his 30 second moment. Marion Cottilard was both stunning and scary (and the only cast member worthy of an Oscar nom IMHO). I also felt sorry for Cillian Murphy. Tom Hardy and JGL were easily the most entertaining or amusingly interesting, but I still couldn't pick a favorite. But on second viewing, for some strange reason, JGL came out on top. Again, nothing critical, just personal opinion.
It'll be interesting to see what opinions change on further viewing...
Something interesting that I took out of my repeat viewing: the entire first half of the film is my favorite part. Not to say that I didn't like the inception portion of the film, but in most heist films the part I dig most is the setup, introducing the characters, the target, the methods, etc. I guess its more personal than critical opinion.
Also the first time around, none of the characters jumped out as a 'favorite'. DiCaprio was the lead, and no offense, but lead parts are usually not my favorite. Michael Cain was great for his 30 second moment. Marion Cottilard was both stunning and scary (and the only cast member worthy of an Oscar nom IMHO). I also felt sorry for Cillian Murphy. Tom Hardy and JGL were easily the most entertaining or amusingly interesting, but I still couldn't pick a favorite. But on second viewing, for some strange reason, JGL came out on top. Again, nothing critical, just personal opinion.
It'll be interesting to see what opinions change on further viewing...
