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Cam prostanac mostenitorul.
Logic vorbind, filmul are o mare problema. Visul e total diferit de amintire. El a visat ca e rapit, ca e vanat etc. A VISAT. Rapirea nu a existat in realitate, nici un cod, nimic. El cand se trezeste stie asta, realizeaza ca a fost un vis dar fiind prost, respecta ce i-a zis ta-su in vis. Nu e chiar inteligent baiatul.

Felicitari, ai dovedit inca o data cat de superficial esti... daca mai era nevoie.

Totul se petrece in subconstient. Nu iti aduci aminte ce e in subconstient, dar de acolo vine emotia care te face sa adopti o anumita atitudine fata de un lucru. Practic lui ii va veni din proprie inspiratie ideea pe care a implantat-o echipa lui Cobb. El nu stie ca altii au implantat-o, nu isi aduce aminte cum a dobandit-o, vine de la sine, ca si cum ar fi o idee proprie.

Filmul se vrea a fi important, a fi luat in serios, sunt evidente tentativele pentru a-i da profunzime, toate fortate si esuate.

Articolul care l-am pus mai sus arata profunzimea. Desigur, s-ar putea spune ca e "overthinking", dar se potriveste foarte bine.

In film, visul apare ca un drog. Toti se sedeaza pentru a visa. O proasta se sinucide, ca sa nu mai fie trezita de barba-su.

Visul apare pentru anumite persoane ca un drog, dar e, intr-adevar, si in realitate un drog. Toti avem vise, iar unii, pentru ca n-au nici cea mai mica sansa de realizare a lor in realitate, ar ceda realitatea in fata visului. Oamenii se drogheaza in fiecare zi pentru a scapa de realitate, un drog precum visul e un fel de drog suprem.

Cat despre proasta care se sinucide, ma gandesc ca te referi la Mal, ca nu-mi aduc aminte de alt suicid in film. Se pare ca tu ai inteles pe dos, ea se sinucide tocmai pentru ca are impresia ca inca ar fi intr-un vis. "Barba-su" e ala care nu vrea sa se mai trezeasca, tocmai pentru ca el realizeaza ca n-are din ce sa se mai trezeasca.

Se vrea inteligent, profund, in schimb are un subiect lipsit de substanta si logica, iar scenariul nu e amuzant.

Despre substanta e discutabil, dar cand vine vorba de logica cred ca ai tratat in mod superficial filmul si ti-a fost prea lene sa folosesti ceea ce ti se pare ca-i lipseste filmului: inteligenta.

Filmul asta, ca poveste centrala, e la nivelul lui Transformers.

Tu, ca persoana, esti sub nivelul Transformers. Pacat, observ ca ai creier, n-ar strica sa-l folosesti mai des ca altfel se atrofiaza.

S-au vrut inteligenti baietii care au facut Inception, film pe care il consider a fi facut de snobi si pentru snobi.

Daca si asta e film de snobi inseamna ca habar n-ai ce-i aia cinematografie. Imi pare rau, dar esti paralel cu fenomenul...

Da, efectele speciale a fost misto. Bataia din hotel si trenul de pe sosea, in mod special.

Din ce ai tot vorbit tu despre filme se pare ca asta apreciezi in mod special, de unde si pasiunea pentru un film cu o poveste mediocra precum cea din Star Wars.

Trecand la alte lucruri, am gasit niste chestii interesante la trivia pe imdb:

The slow, gloomy, blaring trombones in the main theme of the film score are actually based on an extremely slowed down version of the fast, high pitched trumpets in the beginning of the Édith Piaf song "Non, je ne regrette rien," which is used as a plot device in the film. Furthermore, when music is heard by someone who is currently within a dream, the music is perceived as slowed down. Thus, the main theme of the film score is almost exactly what the beginning of "Non, je ne regrette rien" would sound like to a dreamer. This thematic device is brought to its logical conclusion when the song plays at the end of the credits, signaling that the audience is about to 'wake up' from the film.

When explaining why he thinks implanting an idea is not possible, Arthur says "don't think about elephants" to actually make Saito think of them and thus "insert" an idea into his mind. The line is a reference to the title of a famous cognitive semantics book, Don't Think of an Elephant by George Lakoff. The book describes conceptual framing, the use of certain words to literally insert certain ideas about a subject into the listener's mind in a surreptitious way, e.g. implanting the idea that taxes are a bad thing by using the phrase "tax relief."

Marion Cotillard's character is called 'Mal', short for name 'Malorie', a name derived from French word 'malheur', meaning misfortune or unhappiness. The shorter version 'mal' means wrong/bad or evil (when a noun) in French, as well as some other Latin-based languages.

A direct translation of the lyrics for the song "Non, je ne regrette rien" as performed by Edith Piaf is: "I regret nothing/no, I have no regrets/I regret neither the good things I've done nor the bad things/They are all the same to me/...The past is done, swept away, forgotten/I don't need the past anymore/I set my memories on fire/My horrors, and my pleasures/I don't need them any more/Swept away in the agonies of love/Swept away forever, I leave with nothing..." Nolan has made a point of saying that he chose the song specifically for the movie, which is heavily concerned with the effect of memories on the psyche, and specifically the disastrous effect that not letting go of memories of love-gone-wrong can have on the subconscious--exactly what the song discusses. Also of note: in the original French, "I regret neither the good things I've done nor the bad things" is "Ni le bien qu'on m'a fait ni le mal," and since Cobb's wife is named Mal, that gives the line a double meaning.