One of the
more interesting thing about dreams is they do not play out like a conventional
story. They are at best carelessly stitched vignettes that at times speak
through their absurdity more than by anything else. Idiosyncrasy is central to
majority of dreams. And so is departing out of order.
“ Dreams feel real while we’re in them. It’s only when we
wake up that we realize something was actually strange”, says
Cobb to Ariadne. It is quite clear that Nolan is obsessed with this particular
facet of dreams. He is constantly endeavoring to erase the line between dreams
and reality and thereby forcing the characters to question themselves. He
very astutely places his characters in a world where they emotionally
invest themselves and then slowly tracks back to show the world never
existed. This is the single most frustrating thing about dreams too, you invest
yourself so much emotionally, but when you wake up you can’t make much of them.
The best way to make sense of the movie is to be steadfast to
one plane of reality at least. Otherwise, it just becomes a nested loop
which is even more complex to fathom. Lynch in Mulholland Drive subtly
differentiates between dreams and reality mostly via the use of colors, and
Nolan does it in Inception sometimes by means of quite unnatural
architecture, sometimes by means of physics defying universe. Nolan’s concept
of dreams is quite literal here. However, he doesn’t concentrate much on his
real world too, so we can never be entirely sure of what is real and what is
dream. So any attempt to deconstruct the movie should be first attempted with a
basic premise of what world is real, although I am pretty sure most people will
agree on the first base of their real world, that is the world where Cobb
is given an assignment to plant an idea into Fischer’s mind that would enable
him to go back to his family again.
One of the major thing I was wary about the movie was the fact
that Nolan might have been just too clinical for the film’s own good, too
obsessed on the technical finesse of the plot and in the process
depriving the audience an emotional connect with the characters. However,
Nolan surmounts this by making the protagonists as vulnerable and
rugged as perfect and deeply layered the world they wish to penetrate.
I was also worried that the movie might be neatly executed at a
cerebral level but would ail from a rather hollow heart. Or, Nolan would try to
cover it up by adding a parallel track that would be a Mcguffin of sorts. But,
he doesn’t do all that. By introducing Cobb, a character with a troubled
and closeted past, he seamlessly merges the two worlds of dreams into one,
thereby both stories not playing out in exclusive to each other but rather in a
queer way as a function of each other.
What is even more interesting is our allegiance to a particular
character pretty much shapes our own movie experience. The movie can be
analyzed from an entirely different perspective if we give in
to one character rather than the other. Who do you believe more? And
what world do you see from their eyes? There can always be things we can
believe in, but nothing we can be sure of. Can Cobb be trusted enough? I am not
sure I have the answer to that question after just one viewing. And that
is just one of the strands that Nolan has left loose.
At a certain plane, everything is as real as we want it to be.
That was what underlined the protagonist’s motive in Memento too. We make peace
with ourselves to construct a moat of truth around us. And we live happily in it,
safely sheltered by ignorance.
Multiple viewing would make things clearer relatively and the
recollection from the first viewing can only be very dream like – at best vague
and roughly concocted. And that is the beauty of the movie, Nolan doesn’t make
it mind numbingly complex to turn off the audience, rather he just keeps the
carrot dangling by adding back stories that keeps the audience interested
enough to speculate and propound.
And for all the people debating whether the totem spinning would
have fallen or not, consider this: Cobb finally comes back, sees his kid’s face
and holds him up in his arms. In the same frame the totem is still spinning,
juggling between the two worlds. Cobb penetrated different levels of dream(or
at least, that’s what he thought they were) to get what he really wanted.
The totem is still spinning, but he doesn’t turn back. He got what he wanted.
And then Nolan blacks out the screen. Our lives look like a sweet dream when we
are with people we love the most. So, why do you even care whether the totem
would have fallen or not? Cobb does not any longer.