Mixing Reality with Dreams in Inception

Apart from Cobb’s own family, Saito plays a critical part in suggesting that in the ending, Cobb has returned to reality. This can be shown through the repetition and the correlation of few scenes. To start off, the lines “...to become an old man, filled with regret, waiting to die alone” are said three times within the film. For the first time, these words are those of Saito within his own helicopter, as he persuades Cobb to perform inception, in order to earn the chance of going back to his children. Such statement is alluring yet slightly mocking, which contrasts with the following similar scene. For the second time, however, the same lines are not said by Saito, but by the protagonist himself. Within the third dream level, Cobb sternly repeats the lines, implying that Saito would gradually fail to achieve his true identity as Saito is about to enter Limbo. However, as Cobb later enters Limbo, attempting to rescue Saito from the dangerous dream realm, these lines are retold once again by the original speaker himself. With such scenario being presented, it leaves the audience with the impression that Saito finally recalls the existence of the real world and the past events. This would lead to Saito and Cobb committing suicide off-screen in Limbo, and be awaken in reality again. In other words, through the replication of the same lines, the director is able to convey the sense of Cobb being able to return to his children from the real world to the audiences as the movie ends.

Moreover, the interconnection between the opening scene and the second last scene also suggests the affirmative that Cobb is not stuck in Limbo as the film is brought to an end. In Saito’s words, he illustrates Cobb as a professional “possessed of some radical notions”. With the technique of subsequent editing plus the correlation stated from above, it leads to audiences interpreting such statement is referring to the protagonist’s ability to infiltrate other’s dreams. Indeed, as the film approaches to its end, with both Saito and Cobb being stuck in Limbo, slowly recalling memories of their life outside dream state, the aforementioned “radical notion” is revealed to be the conviction of the world they are currently within is delusional, and death within this state is not the ultimate end of the character’s life. Since this “radical notion” is Christian allegory of resurrection, by presenting Cobb dressing in rags and eating gruel instead of being in white camouflage suits he is in within the previous dream level, it suggests that his identity within this dream state is similar to a figurative prophet : rescuing himself and Saito from the expanse of raw subconscious, thus in the movie’s ending, waking up into the real world.

Focusing on the ending itself, the cinematic effects helps amplify the presentation of the ending as well. As Cobb reopens his eyes on the plane, the pan shot presents the other characters glancing at him, subtly showing appreciation towards his accomplishment of coming back to reality. Apart from that, the home scene towards the end of the movie presents the character’s respective actions through a third person’s perspective. It can be shown by the pan shot and close up of Stephen Miles, in which the father-in-law smiles slightly as Cobb reconciles with his children at the back. This portraying reveals that Cobb is not dominating the whereabouts and surrounds, in other words Cobb has left the delusional dream state in the final scene of the movie. Other than types and perspectives of shots, the non-diegetic sounds also prompts audiences into believing Cobb has a final happy ending. The layers of Time, scored by Hans Zimmer, moderately builds up towards the climax of both the piece itself and the final scene. As Cobb’s passport is being stamped by the official in the airport scene, the music intensifies, signifying that Cobb is confident in restarting a brand new life with his children. Finally, the delicate and quiet ending of the music enhances the relaxed and comforting emotion of Cobb reuniting with his children in reality.

To conclude, through mise-en-scene, the details of the acting, plus the usage of other cinematic effects, the film has shown to the audience that the protagonist is awake and has returned to his children in the final ending. With the mise-en-scene, it enables the director to give out subtle hints which paved way to such denouement, as for the cinematic effects, it helps enhancing the impression to the audiences that Cobb returned to reality. Yet, suggested by the facial expressions and the dialogue between the lead and other characters, not only does the ending depict the final reunion of Cobb and his family, it also signifies that Cobb has been through character development : from being held back by guilt towards Mal, to finally forgiving himself and letting go - through a bittersweet journey through the dream realms.