Cobb defeats his regret by finally telling Mal that the two of them did grow old together in their shared dream. In other words, he fulfilled his wedding promise to her. So, is Cobb being pulled back to reality by this thought, or is he being prodded further into his dream?
That depends, perhaps, on how you view the very end of the film: At this point, Cobb seems to be finally freed of his regret and of his memory of Mal, and has been reunited with his children.
The final shot seems to indicate that he may be still dreaming because his totem keeps spinning. If so, then he has either lost himself in Limbo entirely, or Mal was right all along, and his world was always a dream. Their dream has become their reality.
Once they remember that limbo is limbo, they are able to wake themselves up likely with a gunshot to the head. The Extractor - The extractor is a master con man, a person who knows how to manipulate a dreaming mark into revealing their deepest mental secrets. At heart, an extractor is a classic con man - he creates a false set of circumstances that manipulate the mark into revealing his secrets. Cobb Leo DiCaprio uses the same type of con man repertoire as George Clooney in Oceans 11 - only Cobb knows how to literally do his work on a subconscious level.
Fancy premise aside though, the extractor as I said is basically your classic con man. The Architect - The architect is the designer of the dream constructs into which an extractor brings a "mark. The mark also known as "the subject" is brought into that dream construct and fills it with details from their own subconscious and memories, which convince the mark that the dream the architect built is real - or at the very least, is the mark's own dream.
The architect can manipulate real-world architecture and physics in order to create paradoxes like an endless staircase, which makes the dream world function as a sort of maze. The dream is constructed as a maze so that A The mark doesn't reach the edge of the maze, realizing that they are in an imaginary place.
B So the mark runs the maze, leading the extractor toward "the cheese" - i. The Dreamer - The architect and the dreamer are not always the same person. The dreamer allows the mark to fill their mind with the mark's subconscious, and unless the dreamer maintains the stability of the dream, the mark's subconscious will realize it's been invaded by foreign mind s and will try to locate and eliminate the dreamer to free itself.
When you start getting into the whole dream within a dream aspect of the movie, identifying the dreamer can be tricky - this is especially true when Cobb and his team start running their con on Fischer using three separate levels of dreaming. Once the tri-level dream sequence starts, one good way to keep track of the dreamers is by noticing which team member stays awake and doesn't follow the team down to the next level of dreaming - a dreamer can't enter a lower dream state, otherwise their level of the dream would end.
The rainy city - Yusuf the chemist Dileep Rao is dreaming this level. Yusuf is drinking a lot of champagne in the "real world" on the plane, so when he goes to sleep he has to pee hence the rainfall. Since Yusuf is the dreamer of level 1, he has to stay in that level of the dream, hence why he has to drive the van. The hotel - Arthur Joseph Gordon Levitt dreams the hotel, which is why he has to stay awake when the rest of the team goes down to the snow level.
When the van Yusuf is driving goes off the bridge and is flying through the air, Aurthur's "body" is suspended in air, which is why gravity in the hotel level of the dream goes haywire - as the dreamer's body is shifted and moved, it affects the physics of the dream he's dreaming, since the mind and inner-ear is registering the change in gravity.
The snow fortress - Eames the "Forger" Tom Hardy is dreaming this level of the dream. A question has been raised about why the gravity in the snow world doesn't go haywire when Eames' body starts floating in the zer0-gravity hotel.
Well, you could say that Eames' body isn't being shook up or shifted in any way his mind or inner-ear would actively register or that being so deep in a dream state cushioned Eames from the effect of gravity. Or, you could say that it's a glaring plot hole. Truthfully, it's questionable. Limbo - Limbo is actually unconstructed dream space - a place of raw and random subconscious impulse. Ariadne drops a line early on about the fact that the extractor team can bring elements of their own subconscious into the dream levels if they're not careful, and since Cobb has spent time in Limbo and has a raging subconscious, the Limbo space they enter includes his memory of the city he and Mal built for themselves.
If you're more of a visual person, Cinema Blend has put together a handy graphic detailing the different levels featured in Inception :. The Mark - The mark Cillain Murphy is the person who the extractor and his team are trying to con. The extractor uses those details and various mental prompts to steer the mark through the dream world maze, towards the mental secrets the extractor wants to steal. As stated, the mark thinks he is still awake, perceives the dream world as real and reinforces that notion by "projecting" his conscious view of the world onto the dream - this is why projection people populate the dream cities, etc.
Because of the extractor's manipulations, the mark goes along with the faux reality of dream, ultimately reaching the point where they either realize it's a dream, or open their mind and reveal their secrets. Projections - Dreams feel real to us when we're dreaming and part of the reason for that is our mind's ability to construct a faux real-world setting for us to interact within dreams.
Often, that dream is something like a city or any populated area which has other people walking around it. In Inception , those people that the unknowing mark populates the dream world with are known as "projections. As is explained in the film, projections are not part of the mark's mind - they are manifestations of the mark's vision of reality. If a mark has been trained to defend themselves against extractors, they have a part of their subconscious which is always on guard against mind-crime in the form of militarized security which attack mind invaders.
In Cobb's case, Mal "the shade" is a projection based on his need to remember his dead wife. The twist is that this "home" is in his mind, neatly wrapped up in a beautifully shot and edited package, similar to the way he's envisioned his children throughout the film. What does Nolan's shooting script say, with regard to the spinning top? Essentially, what you see on the screen.
But taken with all of the analysis of conversations between Cobb, Saito, Mal and the professor, we believe that the top is, in fact, still spinning at the end of Inception because it's all a dream. The information trimmed from the aforementioned pivotal scenes would have helped audience draw the conclusion that Cobb is, in fact, dreaming -- with the world reaching out to him to come back to reality.
Does the movie, itself, back this point up? The movie, on the other hand, is much more open-ended, in general, with what it has to say to its audience about the state that Cobb is in. Not just in the final scene. That stays true to what is in the script. But as mentioned before, a lot of the dialogue between Cobb DiCaprio and Professor Miles Caine is cut down to the basics, leaving much of Nolan's intention to interpretation.
Gone, for example, are any mentions to Professor Miles' wife, who left him because of his continued friendship with Cobb. Instead, their shared scenes feel more like the set up to bring Ariadne Ellen Page into the plot, which Nolan needed to keep the film going at a fair clip. One scene that is left more intact is the Chemist scene, where the old man in the basement asks Cobb if he still dreams, as well as a cryptic reference to the dream becoming reality to the old men -- as well as to Cobb, himself.
We view this as a deliberate clue to Cobb's state. Not to mention, when the spinning top scene comes in at the end of the film, it's not a fade, as the script suggested. Instead, it's a very curt cut, assisted by a musical cue that's just as abrupt. That's how Nolan ends the film. Some say that the top is still spinning at the end, while others say they see it begin to wobble at the very end of the film, but either way, the shot doesn't linger enough to support either outcome.
If you want to add some further fuel to the fire, think about how quickly the music cuts off at the end. Kind of sounds like someone waking with a start, doesn't it? This could symbolize that the audience is waking up from the dream that is Inception, but it could also mean that Cobb's ready to wake up and accept the world he really lives in, if only to see his children. OK, so, between the script, and the actual movie, what do we think happens at the very end of Inception?
Inception is a different beast, depending on how you're looking at it.
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