Writer/Director - Christopher Nolan

Booked for 10.05 PM show tomorrow! Bring on wednesday I say :evil:

Why nobody has uttered a word abt the film's soundtrack?

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Originally Posted by ajaybaskar

Why nobody has uttered a word abt the film's soundtrack?

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IMO,

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Zimmer tries his best to hold the pastiche together and gives emotional cues too. But, for all the greatness of elaborate orchestration, it's the minimal usage (almost zero) in the final shots, the "Top" whizzing down the table, that provides the most brilliant piece of cinema. Despite the deceit of it. That one scene proves Nolan's credentials in audio visual sense, but expected lot more rhythm, timing and patience in other sequences. However such minimalist usage of 'Top' in big budget grandscaleness is refreshing and ironic.

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Downloaded the soundtrack. Amazing on its own (on second time watching the film, I'm seeing why he's the one who binds every stage & makes it seem 'interwoven' so to speak) :clap:

My pick is 'Mombasa' apart from the main theme.

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Originally Posted by kid-glove

Compiled my thoughts here..

The genre reduces Cobb's moral fallibility to its favor. For all the espionage, the thief himself, Cobb, has no sense of 'reality' and perhaps his guilt is possibly repressed/thieved out of him. And to Nolan's favor, the catharsis of the film doesn't bog the viewer at all. The fake ending, which calls attention towards its ambiguity, gives it a positive tone. If for whatever reason it goes against his favor, he'd be 'aware'. This ending pleases Cobb and the audience, to keep 'em cocooned to such a 'state of reality' and sustain the self-contained dream. And for the first time, there's an unison of delight on all our part(s)..

Addendum:
Multiple interpretations of the ending is less rewarding..As I said, the fake-ending is more 'spiritual' than we might think. It's the only moment of unison for all the audience, that's of delight. The slow-mo and slow, upbeat music is very 'transient'. Not a lot of words are spoken here. Saito begins the plan for Inception with a rhetorical question, Are you ready to take a leap of faith..Older Saito, in Limbo, repeats this question too. And both is sandwiched in the film by Mal uttering a similar rhetoric before committing suicide (all this according to Cobb), to take the leap of faith in uniting with her, in death...So perhaps the quest here is 'spiritual', how ironically, the whole film is of "Corporate" espionage. Where individuality has no face value.. Yet this film has existential themes of redemption and spirituality.

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On re-watch, one could find more currency in solipsist self-desires of the film. Characters are 'reflections' of one other, or in the film's own lexicon, projections in unconscious ways.

If not the recurrence of paternal sentiment, role reversal and 'dead ringer' registers are attempted - Saito and Cobb in particular.

In particular, they engage in duologue of completing each other's sentences, a repetition of their earlier conversation. It seems somewhat 'cyclic' feeling true of Limbo itself. That it serves to remind Saito of his association with Cobb is one thing. But especially how the key de facto motives are,
a) To take Leap of faith
b) Not to die an Old Man filled with regrets
It's a) (Saito belief in Cobb in Limbo and Cobb's belief in Saito in taking up Inception) that's imperative to service their causal imperviousness in short-circuiting b)

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Originally Posted by kid_glove

In particular, they engage in duologue of completing each other's sentences, a repetition of their earlier conversation. It seems somewhat 'cyclic' feeling true of Limbo itself. That it serves to remind Saito of his association with Cobb is one thing. But especially how the key de facto motives are,
a) To take Leap of faith
b) Not to die an Old Man filled with regrets
It's a) (Saito belief in Cobb in Limbo and Cobb's belief in Saito in taking up Inception) that's imperative to service their causal imperviousness in short-circuiting b)

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Very well put.

Regret is theoretically impossible in a world where one can build purely on one's will and consider those who populate as one's projections. When Cobb 'rejects' Mal, he says she is not his wife in all the richness of reality but a 'mere' projection. That seems to be his 'clincher' in rejecting her companionship in favor of 'reality'. But consider the richness of the reality is itself evanescent (as Mrs. Cotard famously observed: 'everybody disappoints'). So what then is lacking in such a seemingly desirable permanence? Does the inferiority stem solely from one's consciousness that this is not real? Isn't that itself something that one can, at best, be fairly certain about, particularly in relation to 'other realities' that are up on offer.

While every choice is motivated by one's aim to minimize regret, the only way-regret is avoided by most people is by blocking out thoughts about the 'what ifs'. When one considers with an open mind every possibility, it is virtually impossible to be satisfied with one's choices. Yet we choose. We have to. And it is our choice that makes what we choose a reality and what we leave behind a dream.

saw it last night at bloody INOX :hammer: theateraa adhu? Naansense!
Movie was WOW! Vaaippillaamai. One gud thing for common people like me is they tried to explain concepts thru dialogues. Nolan :notworthy: kaalai kaattunga sir.

bit too much info for me. I could see myself trying an inception on my own mind acting as separate entity, in dream during my sleep last night! Mental aayitta maadhuri oru feeling. Thala suththudhu.

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Originally Posted by P_R

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Originally Posted by kid_glove

In particular, they engage in duologue of completing each other's sentences, a repetition of their earlier conversation. It seems somewhat 'cyclic' feeling true of Limbo itself. That it serves to remind Saito of his association with Cobb is one thing. But especially how the key de facto motives are,
a) To take Leap of faith
b) Not to die an Old Man filled with regrets
It's a) (Saito belief in Cobb in Limbo and Cobb's belief in Saito in taking up Inception) that's imperative to service their causal imperviousness in short-circuiting b)

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Very well put.

Regret is theoretically impossible in a world where one can build purely on one's will and consider those who populate as one's projections. When Cobb 'rejects' Mal, he says she is not his wife in all the richness of reality but a 'mere' projection. That seems to be his 'clincher' in rejecting her companionship in favor of 'reality'. But consider the richness of the reality is itself evanescent (as Mrs. Cotard famously observed: 'everybody disappoints'). So what then is lacking in such a seemingly desirable permanence? Does the inferiority stem solely from one's consciousness that this is not real? Isn't that itself something that one can, at best, be fairly certain about, particularly in relation to 'other realities' that are up on offer.

While every choice is motivated by one's aim to minimize regret, the only way-regret is avoided by most people is by blocking out thoughts about the 'what ifs'. When one considers with an open mind every possibility, it is virtually impossible to be satisfied with one's choices. Yet we choose. We have to. And it is our choice that makes what we choose a reality and what we leave behind a dream.

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This is a typically fecund comment, P_R. There isn't much to disagree here. You've mused it well..