The original post is in English, roughly meaning:
Every moment of Inception is a dream. The film is a metaphor for how Nolan works as a director. Its ultimate point is that the spiritual purification we get in dreams is as realistic as the soul purification we get in movies, and this is the same as the soul purification we get in reality. reality. Inception is actually about the production of movies; movies are the most exciting shared dreams for directors.
The author believes that the whole of Inception is a dream, including the shared dream itself. Dom
Cobb's wife Mal once questioned him in the play: He is actually wanted by the so-called business tycoon worldwide. How real can this world be? Dom's father,
the role of Michael Caine, also persuaded him to "wake up and return to reality". In the Mombasa chase scene, Dom tried to pass a very narrow alley, and finally the buildings on both sides of the alley got closer and closer, squeezing him in it-this is a typical expression of anxiety in a dream. When he finally squeezed out of the alley, he found that Saito was sitting in the car waiting to pick him up. This was completely inconsistent with the logic of reality-and in the dream, it was reasonable.
"Totem" accounted for a large part of the movie. Dom's totem is a spinning top-spinning and stopping means he is in reality, while spinning or stopping means he is in a dream. (Here, I think that the function of the totem in the movie is actually to tell you whether you are in another person’s dream, so the totem must be made by yourself, and you can’t let others know its characteristics. And if the totem owner is in your own dream, then the totem is still If it's not, his subconsciousness is already clear, so it doesn't mean anything if it's not.) But the problem is that this totem was obtained by Dom from his wife Mal, and he didn't make it himself. And the reason Mal committed suicide was because she thought she was still in a dream state-even though her top totem must have turned upside down at this time. Think of the scene in which Mal committed suicide. They were each in front of a window, and the two windows were facing each other. The structure was very weird. Of course, you can say that Mal has rented another room directly opposite, but if all this is in a dream, wouldn't this strange architectural layout be easier to explain? Mal's death proves that whether the top is down or not can't tell whether Dom is in a dream or not. Totems are actually useless.
It was said in the movie that the feeling of dreams is actually very real. We only wake up when we feel some very strange and unexplainable moments in the dream. And the so-called reality part of Inception, looking back, is actually full of such unreasonable details and moments. The end of the movie is undoubtedly a dream state—a child who wears the same clothes, the same age (Dom’s children should be at least one year old), and does exactly the same actions as Dom remembers. . Regardless of whether the top fell in the end, Dom was dreaming.
But even if Dom is in a dream, he still sees the faces of the children, and still obtains the spiritual purification that he tried his best to find. Here, we must note that Inception is actually Nolan’s autobiographical film. In a recent red carpet interview, Leonardo did not compare Inception with "The Matrix", but compared Fellini's "8
1/2" -as we all know, "8 1/2" is Fellini’s autobiography is a film about how to make a movie. Leonardo also said earlier that he portrayed Dom Cobb based on Nolan himself.
The following is the most critical part of this review: The
Inception team can be one-to-one with the main characters in the film production process. Dom
Cobb is the director, and Arthur, who conducted the preliminary research and arranged the sleeping place, is the producer. Dream designer Adiadne is the writer of the script-she builds the world we will enter. Eames is an actor (this is evident in the details of his conversion when he sits in front of a makeup mirror, which is still used in stage plays today). Joseph is an engineer: don't forget, the full name of Oscar is the Society of Motion Picture Arts and Sciences. A movie needs the support of a considerable number of technicians. Nolan himself revealed some clues in the recent "Film Review": [The behavior of the Inception team and shooting a Hollywood movie] have many similarities. For example, when Pirates walked and investigated on the streets they built, it was almost exactly the same as the technical investigation we conducted before starting the machine. "
There are two main characters remaining. Saito who is behind the game is the investor. Fischer is the audience. Director Dom
Cobb led Fischer through a fascinating, exciting and exciting journey, guiding him to understand himself better. Cobb is an amazing film director (or the best representative of film directors), he brings the audience action, special effects, but also conveys meaning, humanity and emotion at the same time.
"The movie is like a dream" is why Inception constructs those dreams so real. The explanation in the movie says that changing the dream too much makes the dreamer realize the strangeness of the surrounding environment; this is basically another way of saying that all movies seek a balance between suspense and dishonesty. Once the audience drifts away from the movie due to certain details-an unreasonable scene, an absurd line, a failed performance-it is likely that the magic of the entire movie will be lost, and the audience will feel lost.
…
Inception is an extremely important movie, because it represents the level that a good movie strives to seek. After experiencing a good movie, you will find yourself completely new, with some new ideas in your mind, and even your nervous system is slightly reorganized. To a large extent, Inception itself is like this: audiences leave the cinema to talk about their feelings and perceptions. New concepts, new ideas, and new opinions are souvenirs that a good movie can endure that lasts longer than the ticket stub.
...For the character Fischer in the film, the emotional breakthrough he experienced in Snow Castle is real. Although his father was not really there, and even though his windmill was not really placed in the safe next to his father's bed, the emotions he felt were 100% real. In the same way, it doesn't matter that the movie you watch is not a true story, it's just a costly performance, it doesn't matter-when a movie touches you, it really moves. The tears you shed when you watch "Flying House" are real, even though everything you see on your screen is completely vain in real life.
For Dom
Cobb, all of this has a deeper meaning. Although he has no father-son relationship problems, like Fischer, he has also experienced loss. He tried to fight the pain caused by his wife's death (although the whole movie is a dream, Mal in the reality above the movie may not really die, but divorce and run away, but this is not the key). Fischer's experience can be said to be Dom
The reflection of Cobb's experience is not a one-to-one correspondence between Ding and Ding and Mao. This is very important to Nolan, and his films often contain personal elements—something he is personally interested in or concerned about—but these elements are not actually related to him. Other filmmakers (such as Fellini) may have made slightly disguised autobiography, but this was not the choice of Nolan or Cobb. The movies (or dreams) they built reflect their mood, but they cannot simply correspond to their lives. In an interview with Film Review, Nolan said that he had never tried psychoanalysis. "I think I achieve the same goal by making movies. I have a strong relationship with my profession."
In many ways, Inception can be regarded as the end of last summer's Inglorious
Basterds. In "Unscrupulous Bastard", Quentin pays tribute to film art by changing history, while Nolan explores how film, the ultimate dream shared by everyone, can change the individual in Inception. For the film itself, the whole film is a big dream, but more abstractly, it should be Nolan's dream. When he dreamed of Cobb, he looked for his own revelation and determination, just as Cobb dreamed of Fischer while looking for his own spiritual purification and change.
The whole movie is a big dream, not a waste of time, but the ultimate embodiment of the theme and meaning of the movie. It is all false; but at the same time, it is extremely real. This is completely self-evident to any movie lover.
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