"What's the most resilient parasite? A bacteria? A virus? An intestinal worm? [...] An idea. Resilient, highly contagious. Once an idea has taken hold in the brain, it's almost impossible to eradicate. An idea that is fully formed, fully understood? That sticks."Inception
— Dom Cobb
, a 2010 thriller from director Christopher Nolan
, works like a heist film
in reverse: instead of taking something, the main character must leave something behind. Starring an All-Star Cast
consisting of Leonardo DiCaprio
, Joseph Gordon-Levitt
, Ellen Page
, Tom Hardy
, Marion Cotillard
, Cillian Murphy
, Michael Caine
and Ken Watanabe
works as a freelance "extractor": using a specialized set of drugs
, Cobb and his team share dreams with their targets (usually individuals with lots of power and money), which allows Cobb to find and open the safes and vaults within said dreams that contain secrets he can sell to his clients. Cobb's skills in understanding the human mind make him one of the world's best extractors, but his job has turned him into an international fugitive who can't return home to his family in the United States. When an attempt to extract information from a Japanese business magnate named Saito
goes wrong, Cobb goes on the run from his current employers.
Saito catches up with Cobb and makes the extractor an offer: he'll arrange to wipe Cobb's criminal record (which would allow him to go home) if Cobb can manage to perform an inception
on one of Saito's rivals. Whereas extraction involves stealing ideas or information already in somebody's head, inception involves the insertion
of an idea into someone's head in a way which convinces the target that they independently conceived the idea
. Cobb accepts Saito's proposal, even though he knows it has a catch: nobody has ever pulled off a successful inception, as the targets always realize that they didn't come up with the inserted idea.
To attempt the impossible, Cobb assembles
a Badass Crew
of experts: longtime extraction partner Arthur
, dreamworld-building architect Ariadne
, expert forger Eames
, and chemist Yusuf (who devises the specialized sedatives that make extraction possible). The task requires them to perform a very risky "dream within a dream within a dream
" scenario which will allow the team to bury the idea deep enough to leave no trace of their influence. As Cobb's group works their way into the target's mind, a complication Cobb failed to warn them about arises: inside the dream world, Cobb's subconscious demons
makes for a worse enemy than their target's — and if they die in the dream, well, the sedatives assure that they simply don't wake up
Inception extracted the following tropes from the minds of humanity:
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- Action Prologue: The opening mind theft mission on Saito.
- Adult Fear: The protagonist is forced to flee his home and his country, leaving his very young children behind, possibly forever. There's also the horrific situation when he has to watch his beloved spouse succumb to mental illness and suicide - and realize it was his mistake and that he was responsible.
- Air-Vent Passageway: Exaggerated. In the final maze there were air vents large enough for a full-grown man to stand upright, and bypassed the maze completely. Justified in that they were only there because Eames deliberately had Ariadne install them.
- Alien Geometries: One of the architect's tasks is setting up Escheresque loops in the dream world, in order to confuse and trap the projections if they become hostile.
- All Just a Dream: Played with. From the perspective of one level of the dream world higher, whatever happens in each dream layer is All Just a Dream, but things that happen while you're dreaming can have very real results in the real world. Also, one theory surrounding the film is that the entire thing is in Cobb's head and that he's the one who's had inception performed upon him to believe that his dream is the real world. In a dream, the top will never fall, and it sure seems to stay up for a long time, but it clearly wobbles before the credits roll. But it may or may not straighten out, and we don't see it fall. It also leaves a second question on top of "Was it a dream?": If it was a dream, how much of it was a dream?
- Well, according to Michael Caine, the top wobbles and Cobb deliberately does not check, as he has confidence that he's in reality, and Word of God vaguely alludes to this as well. But Caine's theory hasn't stopped people from coming up with their own interpretations of the ending.
- Another popular interpretation is that the spinning top is not actually his totem - since the top was what he used to make Mal doubt the reality of their limbo world. The theory is that his actual totem is his wedding ring.
- Aluminium Christmas Trees: A top actually CAN spin for a ''really'' long time, depending on the design.
- Ambiguously Gay: Eames.
- Ambiguous Situation: The movie ends with Cobb being so happy to see his children again that he forgets to check if his totem stops spinning or not. Will it stop spinning shortly after the scene? If so, the ending is Happily Ever After. If not, it's kinda a Lotus-Eater Machine.
- Amoral Afrikaner: Cobol Engineering is a South African Mega Corp. with a very thuggish and unscrupulous reputation, which in part explains their presence in Kenya. This is further highlighted in "The Cobol Job."
- Anachronic Order: Not to the level of previous Nolan films, but the beginning chronologically takes place near the end.
- And I Must Scream: Limbo. Or not — since you are a Physical God there, it's far from suffering; Mal and Cobb didn't seem to mind it.
- It's not so much limbo as it is the effects Limbo has on the mind. Since, once there, you are a Physical God, you have decades worth of time in a single afternoon... Limbo is, in a way, a Lotus-Eater Machine version of the perfect world. Leaving it is likened to a drug-addict off their fix... you can't just up and leave, you'll always want to go back. You'll "need" to just to have some sense of feeling. And that is the grand fear of limbo, because once you tasted it... you never want to leave, even if the door is right in front of you.
- The whole caper, if you judge by the events in the first layer of dreaming, lasts no more than 10 hours tops. This means that it took most characters a maximum of 30 minutes of real-time to get through the movie. Meanwhile, the flight is 10 hours real-time, which leaves Cobb with 9 hours 30 minutes to find Saito – multiplied by 20, by 20, by 20 and by 20 again. That's 1 and a half million hours. So Cobb and Saito were rotting in Limbo for more than 170 years. On realization, it would make even the viewer scream, to say nothing of these fellas.
- Anti-Hero: Both Cobb and Saito have rather selfish motives for messing with Robert Fischer's subconscious, and all the other team members are motivated by either money, curiosity, the thrill of the challenge, or a combination of all these. They're arguably altering Fischer's subconscious for the better, in that he'll have a more positive outlook on his father and life in general, but it's an outlook that was based on lies.
- Even if you put aside their selfish motives, the team's remarkably deceptive and manipulative methods are morally questionable, to say the least.
- Anti-Villain: Mal, in a fashion.
- The Apple Falls Far: Mal's shoe plummeting dozens of stories to the street below right before she does too.
- Applied Phlebotinum:
- Somnacin, the drug that enables dream-sharing. Side materials note that it was was first created for military applications as a training simulation. However, the PASIV Device which administers it is a Schematized Prop.
- The specialized sedatives. The one used when Cobb and Arthur enter Saito's dreamed dream on the train at the start of the film leaves the dreamers able to feel water, but does not appear to have any sensory gaps aside from a vague sense of hearing. Yusuf makes one so potent that the dreamer is effectively insensate save for inner-ear functions, so the dreamer can perceive the sensation of falling.
- Arbitrarily Large Bank Account: Saito uses his to buy the entire airline for the single airplane they're infiltrating. Purchasing an entire airline in under a month, without attracting attention, would require a staggering amount of money. Then again, who knows how long Saito was planning this, he could just be Crazy-Prepared.
- Arc Number: 528-491. Amusingly, it means absolutely nothing, being just the first six numbers Fischer thought of. As they go deeper and deeper into the dreams, though, Fischer's subconscious starts giving them importance, because hey, he was thinking about those six numbers.
- Arc Words: Several.
- "You're waiting for a train..."
- "... an old man, filled with regret, waiting to die alone."
- "We can be young men together again."
- "...take a leap of faith"
- "Non, rien de rien / Non, je ne regrette rien..."
- "This world is not real." or some variant of the word.
- "You said you dreamt that we would grow old together."
- Cobb's comparisons of an idea to a virus only really hit home in Act III.
- Astral Checkerboard Decor: The snow fortress in the third level has floors with this pattern.
- Audience Surrogate: Ariadne. In a refreshing twist on the trope, she doesn't just sit there and ask questions so that the more experienced characters can provide exposition. She catches on to the idea of dream-sharing rather quickly, and makes an effort to sway Cobb from his self-destructive course. Not to mention that it's her idea to go into the fourth level after Cobb and Eames have basically given up. In short, she's a character who behaves exactly as the audience likes to believe they would in that situation.
- Australian Accent: Quite a few, as the old man Fischer dies in Sydney.
- Author Avatar: Cobb, if you favor the inception-as-metaphor-for-filmmaking interpretation.
- Avengers Assemble: Cobb travelling around the globe to recruit Ariadne and Yusuf as new members for his Inception team.
- Ax-Crazy: Mal's projection.
- Badass Bookworm: Arthur. Cobb mentions that he's in charge of doing the research, and he's smart enough to figure out how to simulate falling in zero gravity. He's also badass enough to pull it off, in limited time, while fighting off mooks. Again, in zero gravity.
- Ariadne designs all the dream levels, complex enough that if Mal hadn't showed up to screw everything up, the mission most likely would have gone smoothly.
- Badass Crew: The Inception team. Especially Arthur and Eames.
- Badass in a Nice Suit/Sharp-Dressed Man: Everyone, though Arthur kicking ass and taking names in his Waistcoat of Style is a standout example.
- Batman Gambit:
- "Mr. Charles" — In the second layer of the dream, Cobb tricks Fischer Jr. into participating in the inception plan by convincing him that his godfather Browning is the one that's really invading his dream. This plan would only attract attention from the hostile projections once they become aware they're in a dream, thus increasing the danger for everyone involved. Indeed, it's shown that last time this was tried, it backfired horribly for Cobb, Arthur, and their crew.
- Nolan's plan for getting the film made also seems to have elements of this. Bonus points for using Batman in the Batman Gambit.
- Battle in the Center of the Mind: Quite a few because most of the movie takes place in a dream and The Plan involves going very deep into someone's mind.
- Bavarian Fire Drill: Cobb pretending to be Fischer's security expert in the bar scene, which leads to Come with Me If You Want to Live.
- Better Than a Bare Bulb: In-story. The Mr. Charles gambit: when Fischer starts to near an awareness of the artificial nature of the world, Cobb assumes the role of Dream Security expert Mr. Charles to call attention to the fact he's being dream hacked in an effort to gain his trust and continue the hacking. It works.
- Beyond the Impossible: It's clearly stated that two levels deep is the maximum stable level. This means anything deeper would send you into Limbo. Subverted the first time: The group uses Applied Phlebotinum to tweak the rules and reach a third. For the fourth, they just go for it. Overall justified because Cobb disagreed with other dream experts and was a pioneer in the technology.
- BFG: The grenade launcher Eames uses in the dream when Arthur fails to hit his target.
- Bigger Is Better: As Eames demonstrates to Arthur in terms of dream weaponry.
- Bilingual Bonus: The French song used as a signal to wake up is about letting go of the past. Due to the language's love of double negatives, it could be literally translated to "I regret nothing of nothing:" how can one regret something that only took place in a dream? Also, although that part may not be audible in the film, the song famously goes on to say "(I don't regret) any of the evil/hurt inflicted to me" with the word for "evil/hurt" being... mal. It Gets Better: Marion Cotillard, playing Mal in Inception, impersonated Édith Piaf (singer of the aforementioned French song) in La Vie en rose, the movie that gave her an Oscar (and thus made her known to American audiences).
- Regarding the "double negative" above: repeating a word (especially an adjective or an adverb) in the "X de X" construction is commonly used as an intensifier. While "I regret nothing of nothing" is a possible (if unlikely) translation for "rien de rien", it's really closer to "I really don't regret anything."
- Billed Above The Title: Leonardo DiCaprio (makes sense, as he's the lead). In a fair move, the rest of the principal cast (minus Dileep Rao) are all billed in accordance to their screen time below the title.
- Bizarrchitecture: The further down into the dream world you go, the more bizarre it gets.
- Black and Grey Morality: No major character is perfectly morally upstanding in these movies. The "good guys" are very manipulative, deceptive, and arguably even downright cruel at times in pursuit of their goals. Then there are the good guys' targets (or "bad guys" if you think they are bad enough to be distinguished from the "good" ones) who are considering maintaining a dangerous corporate monopoly, which is part of what drives the other side to resort to such ethically questionable methods in the first place.
- Black Screen of Death: The ending, which never reveals whether the top falls or not.
- Blank Book: The papers recovered from the safe that appear white.
- Blind Alley: Averted. Cobb runs down an alley to try and ditch several agents that are chasing him. They notice him stuck in between the two buildings at the other end of the narrowing alley and he barely escapes them.
- Blood from the Mouth: Saito. Justified, as he is dying of a punctured lung in the dream.
- Bloodless Carnage: There is almost no blood at all in the entire movie. The notable exception is Saito, whose injury is a critical moment in the plot and for a fatal wound it's still just a very small hole that barely bleeds. In the snow level Fischer and Mal get shot, but show only a small red dot on their white jackets to show that they have been hit. Like so many other tropes, justified by the fact that most if not all characters never were in actual firefights and would only know them from movies, so that's how they'd expect gunshot wounds look.
- Bob from Accounting: Cobb introduces himself this way when setting up the Mr. Charles gambit.
- Bollywood Nerd: Yusuf. A cool nerd, though, and one who can handle himself in the heat of action, which is key considering his dream is the top layer.
- Bond Opening Sequence: The action-packed opener, in which it's left to the audience to deduce what's going on.
- Brainwashed and Crazy:
- Mal — brainwashed in that Dom's inception in her mind of the idea "your world is just a dream" could reasonably be considered brainwashing, and crazy in that though she may be technically sane as a living person, Dom's subconscious version of her is just wacked out.
- She's crazy as a living person too: because of the brainwashing, she thinks that she's still living in the dream, and then intends to kill herself and Dom to get back to the "real world". She goes to such lengths as to get herself declared sane and him abusive so that he'll be arrested and kept away from his own children, all in order to make sure he kills himself too.
- Brainy Brunette: Ariadne. And, in the past, Mal.
- But He Sounds Handsome: Saito sees Browning, who he assumes to be Eames in disguise. He walks right up to him and says, "I see you've changed." Browning gives him an odd look and Saito sees Eames behind him. Saito quickly says, "I mistook you for a friend of mine." Browning smirks and says, "Must be a good-looking fella."
- Butt Monkey: Poor Arthur. Especially when it comes to testing out the "kicks", somehow Arthur's always the one getting his chair knocked over, his gun dissed by Eames, and so on. His awesomeness at the end makes up for it, though.
- Not to mention he gets shot twice at the beginning. Once just to cause him pain, and once BY HIS OWN TEAMMATE (admittedly to wake him up).
- The Caper: You could say that again. Inside the world of your subconscious. Played with in the beginning of the movie and later as the group is attempting to place something in Robert Fischer's head, rather than take something out as was the case with Saito.
- Caper Crew: Can't have a caper without one.
- Captain Obvious: At the end, right after the first kick :
Eames: Cobb ? Did we miss it ?
Cobb: [who just saw the huge avalanche, as did everyone] Yeah, we missed it.
- Car Chase: Fischer's projections chasing Yusuf's van in the first dream layer.
- Cool Gun: So many to list. Highlights include Eames Milkor MGL grenade launcher, Arthur's FN SCAR assault rifle and Cobb's suppressed Beretta PX4 Storm handgun.
- Casual Danger Dialogue: Saito intervenes as Dom is being chased by Cobol assassins, knocking out Dom's last tail with a Toyota Tripwire then quipping, "Care for a lift, Mr. Cobb?"
- Chekhov's Gun:
- The top comes back with a vengeance, and the train makes a few appearances before it gets any context.
- The Penrose stairs.
- The dollhouse is pictured very briefly near the beginning and turns out to be where Cobb planted the inception in his wife's mind.
- Cobb mentions early on that he doesn't like trains. Ariadne also briefly sees a freight train in his memory. In the first level of the inception job, Cobb's subconscious rams them with a freight train. Turns out it's the train he and Mal killed themselves with to get out of Limbo.
- The large butcher knife Mal is seen fiddling with.
- A literal one. Cobb's Beretta PX4 Storm handgun which he dramatically loads in the elevator up to Mal. Ariadne gets a hold of it and uses it to kill Mal once and for all.
- Subconscious security. In Cobb's first interaction with Saito, he mentions being able to teach his mind to protect itself from Extraction. This comes back to bite them in the ass when they try to pull the job on Fischer but not when Cobb has to retrieve Saito from limbo later, because this time his subconscious knows Cobb is doing the best thing for him.
- The picture of Robert playing with his pinwheel.
- A lot of the tricks of the trade of extracting show up in the earliest scenes of the movie way before they are explained - the kick, using music to time waking up, having a dream within a dream, etc.
- Chekhov's Skill: Arthur demonstrates to Ariadne paradoxical architecture, namely the Penrose steps, and then uses it himself to get behind someone who is chasing him down a stairwell.
- Chess Motifs: Ariadne handcrafts her totem into a Bishop chess piece.
- Clap Your Hands If You Believe: Dreamers when inside the dreamworld have this power. While you can literally do just about anything, doing so to someone else's dream is a VERY BAD idea since the more you mess with their dream the more likely their projections will catch on to the dreamer and force them out.
- Clear My Name: This is Cobb's motivation for most of the film.
- Close on Title: The movie doesn't have a title card until the end credits. Where it is displayed three separate times.
- Cold Sniper: When the team enters the third level, Cobb is equipped with a sniper rifle and shoots several mooks to clear the way to the fortress. Subverted in that he's unable to bring himself to shoot Mal, who then shoots Fischer.
- Collapsing Lair: The building in the opening mission starts to fall apart as the dream collapses.
- Colour-Coded for Your Convenience: In the snow level of the dream, Cobb's crew carry guns and/or wear goggles that have all been colored white, and the mooks defending the fortress cover their faces in black while carrying black guns without winterized camouflage. Helpful since everyone is wearing winter combat gear and would be otherwise indistinguishable. Possible Justified Trope: Eames may have made this adjustment as the dreamer for the snow level, or Fischer may be influencing the projections because the Mister Charles gambit worked and he wants the Inception team to win.
- The dream layers are also tinted differently to help the viewer discern between the switching scenes. The top dream layer is blue, the second is brown and the final dream level is white.
- Come with Me If You Want to Live: Saito does this to Dom. In a subversion, Dom (as Mr. Charles) does it to Fischer, albeit it's "if you want your secrets kept safe."
- The Constant: Played straight with the "totems." Inverted with everything else in the world around them. Furthermore, if you believe the entire film was a dream the totems have no meaning, and everything is nonconstant.
- Conveniently Timed Attack from Behind: When Mal tries to attack Cobb with a knife in the last level, Ariadne shoots her from behind him.
- The Con Within A Con: Well, if you view "incepting" and "extracting" as cons then Fischer is basically conned by being tricked into attempting to extract information from Browning.
- Cool Car: The Hummer with treads used by the guards of the snow fortress.
- Cool Train: The Shinkansen at the beginning and (for fans of American freight trains) the train from Cobb's dreams.
- Corrupt Corporate Executive: While most examples are villains, Saito is a rare anti-heroic version of this trope. He is willing to hire people who try to steal from him, hires Cobb's crew to Mind Rape a rival, and can undo a murder charge with a single phone call. However, he also honors the agreement he makes with Cobb.
- Corrupt the Cutie: Ariadne. Michael Caine's character even refers to Cobb as wanting to "corrupt" one of his best students. Cobb openly tells her the job is not legal, but he, Arthur, and Ariadne herself each admit that after tasting the power of dream architecture, she would never want to go back. She willingly joins the team.
- Crashing Dreams: A dreamer getting wet, being physically jostled, etc. results directly in events occurring in their dreams (such as a sudden flood, or gravity ceasing to function normally) which reflect whatever their body is feeling.
- Crusading Widower: Cobb, though rather than revenge he wants to reunite with his children.
- Cyberpunk: Actually done believably for once. See Twenty Minutes into the Future.
- More accurately, the movie is Post-Cyberpunk, lacking both the "cyber" and the "punk", while still being clearly a successor to the parent genre.
- Cyberspace: Subverted in that this movie hits every cyberspace trope it can without computers.
- Dark and Troubled Past: Cobb has some serious issues concerning his past which have a major impact on his ability to work. Not that he feels he has to be upfront about it to those endangered by it!
- Deadpan Snarker: Eames and Arthur, usually at each other, though Arthur tends to buckle down once the work starts.
- Death Is Cheap: Being killed in a dream merely leads to the subject waking up, although if it happens while they're sedated, it can lead to remaining in limbo for what feels like years (see And I Must Scream).
- Determinator: Deconstructed. Quite literally, Cobb is his own worst enemy. The mental projection of his wife that hounds the protagonists is merely his dogged determination to keep his wife "alive" in some shape or form, to ease his own guilt over her death. Furthermore, Inception itself is revealed to be a brutal deconstruction of this. Once an idea is incepted, it defines the victim, making that single idea the one thing that they will never give up on, no matter what.
- Died in Your Arms Tonight: Mal in Cobb's arms.
- Disproportionate Retribution: In a bizarre case of dream logic, Cobol Corp. sends assassins after the heroes the very minute they find out they've failed to infiltrate Saito's mind, then sends two dozen more when the heroes are spotted in Kenya. This is somewhat less disproportionate if you take into account the prequel comic "The Cobol Job." The Arthur/Cobb/Nash team had failed to retrieve information on Proclus Global (Saito's company) twice by the start of the movie.
- Then again if it's just a dream, Cobol Corp's assassins may be just projections.
- And, of course, extraction is technically industrial espionage, which is illegal. Getting rid of Cobb after Saito's rumbled him would prevent Saito from discovering who hired Cobb and having Cobol either sued or prosecuted.
- Extraction is particularly illegal after "what happened" (which isn't explicitly said to be related to Cobb's previous inception).
- Dissonant Serenity: Edith Piaf as background music during the fight sequences.
- Distracted from Death: In the third layer of Robert Fischer's dream, he looks away from his dying father just long enough to open the safe and see the contents. He then turns back to find his father dead.
- Dramatic Gun Cock: Early on, Mal has Arthur at gunpoint and pulls the cock to make Cobb confess.
- Dream Apocalypse: There are two or three variations: To a lesser extent, the projections who attack any foreign entity in the dream when the host starts to realise he's dreaming; played much straighter, however, is Cobb's projection of Mal, particularly at the end within limbo and inverted with the real Mal, who was convinced that what Cobb thinks is the real world is a dream, and that she needed to die to return to "reality."
- Dream Land: Basically almost the entire setting for this movie, or even all of it.
- Dream Weaver: Extraction/inception teams, and architects in particular, are a sci-fi variant.
- Dream Within a Dream: The dream-share can be used to create deeper-level dreams within the dream.
- Driven to Suicide: Mal Cobb. Subverted several times when characters resort to "suicide" as an emergency measure to escape from the dream state.
- Earn Your Happy Ending: For Cobb.
- Eldritch Location: The dreams, especially the second dream Ariadne entered where she plays with the laws of physics there by tilting a portion of the town and messed up the gravity. Cobb's deepest dream level also qualifies here.
- The Ending Changes Everything: It's entirely plausible that almost all of the events in the film actually take place in one character or other's dream.
- Enemy Rising Behind: When Fischer is inside the fortress, we see Mal climbing down into the room behind his back.
- Enemy Within: Mal, or more accurately Cobb's projection of his guilt from injecting an idea into Mal's mind that ended up driving her to kill herself in Limbo to return to reality, only to believe that reality was just another dream and kill herself again.
- Epic Movie: An all-star cast. Years and years in the making. Large nonuple-digit budget. From the director of The Dark Knight. This fits the trope to a T.
- Epiphany Therapy: At the climax of the film, Cobb finally summons up the courage to confront his projection of Mal and accept the fact that she is dead.
- Everyone Lives: A Foregone Conclusion, since it's all a dream. But dying isn't really what they're afraid of.
- Everything's Better with Spinning:
- Cobb's spinning top.
- Possibly the single most awesome fight scene ever to appear in anything ever, when Arthur takes on the man in the spinning corridor. Made even cooler with little CG necessary for said fight. The hallway was a giant rotating set, and Joseph Gordon-Levitt did all of his own stunts in the sequence.
- Everything Trying to Kill You: If you meddle with someone's dream too much, all the nice not-real people (and architecture) start getting feral. And they always know who's doing it. And sometimes, what's effectively Pyramid Head finds her way in.
- Excuse Me Coming Through: Multiple times during the chase scene in Mombasa.
- Exotic Backdrop Setting: Mombassa. There are no named Kenyans.
- The Faceless: Cobb's kids. Justified, since they are the projection of Cobb's memory — specifically, his last memory of them, when they didn't turn around to look at him. He vehemently refuses to make them turn around in the dreams, because when he sees his children again he wants it to be for real. In the end, Cobb finally sees his children's faces. Or does he?
- Fakeout Makeout: Arthur asks Ariadne to kiss him to keep Fischer's subconscious from detecting them.
- Fate Worse Than Death: Limbo. It's an unformed dream state where you go if you die in a dream but are too sedated to just wake up. The time dilation is so pronounced that a few minutes of real time is experienced as hundreds, if not thousands, of years. You're going to be there for a very long time. If you've got 30 minutes to go before your kick hits, or if you've missed the kick and are gonna be under for hours until the sedative runs out you'll be in limbo for an effective eternity. And then subverted when it's shown you're also effectively God there. So no, it isn't that bad.
- As noted in And I Must Scream, the bigger problem is returning to the real world and then discovering you've become addicted to the "omnipotence" of Limbo...
- Ariadne's and Arthur's totems.
- The insane time dilation as they go further down, such as the third level experiencing 400x the time of the first level. They spend maybe a few hours at each level.
- Film Noir: Christopher Nolan has effectively mixed Noir chocolate with Cyber Punk peanut butter, and it's as tasty as it sounds.
- Fire-Forged Friends: By the time he rescues him from Limbo, Cobb and Saito seem to share a deep bond and trust.
- Flipping the Bird: Done by Yusuf to a projection when he sets off the kick in Fischer's first dream layer.
- Follow the Leader: Not the movie itself, but the advertising: it's become increasingly common for movie trailers to use the same BWOOOONNNG sound effect used in Inception's teaser.
- An interesting variation, as most examples feature characters discussing events they already know about, but the audience does not; the characters may be calling back to an event in the chronological past we have yet to see, or predicting the future using information we have yet to learn.
- An example calling back to the characters' past: Mal asks Cobb in one of the first scenes whether she will die from jumping off the building. She had committed suicide already by this point, and this is Cobb's projection of her haunting him. If you look at the room behind her on the ledge, it's identical to the one he's in, but you might not notice if you were focused on the characters.
- An example of a conversation that does foreshadow future events, but which the audience does not know what they are speaking about (in this case, Cobb's projections of Mal sabotaging the mission):
Arthur: And you. What the hell was that?
Cobb: I have it under control.
Arthur: I'd hate to see out of control.
- From Bad to Worse: Mal infests Cobb's brain to the point where he can barely focus on the mission. The team's employer gets shot and ends up on the verge of death. Then of course there's the ending, which may or may not be this trope. And pretty much everything in between.
- Genre-Busting: Film Noir meets The Caper with a dose of Post-Cyberpunk.
- Genre Throwback: To 90's Cyberpunk/ Post-Cyberpunk movies that had the Platonic Cave idea and Cyberspace. Similar to movies like: The Matrix, The Thirteenth Floor, Strange Days and eXistenZ.
- A Glitch in the Matrix: The movie spinds on it. With what the individual weirdness of dreams, and the weaponized one that is the top.
- A God Am I/Reality Warper: Ariadne enjoys herself too much while learning what it means to be an architect. Arthur is also no slacker when it comes to warping reality, and he even manages to turn recursive, impossible geometry back on his opponents.
- Gone Horribly Right: Cobb's first inception.
- Grenade Hot Potato: Averted. When Eames throws a hand grenade at a mook in Level 4, the guy catches it but is too baffled to do anything with it and gets blows up together with his truck.
- Gravity Screw: The entire hotel corridor fight sequence between Arthur and the projections. There's also Cobb and Ariadne walking straight up a wall in the "Paris folding" sequence.
- Grey and Grey Morality: On one hand, they are essentially brainwashing their target on behalf of a business rival. On the other hand, they are helping the guy get over his deep-seated father issues and getting him to forge his own path. They're also stopping him from creating a dangerous energy monopoly.
- Grow Old with Me: Part of Mal's anger with Cobb stems from his promise that they'd do this. They did in 50 years of Limbo.
- Guile Hero/Manipulative Bastard: Eames, who specializes in manipulating the emotions of marks by impersonating people close to them in their dreams, is one or the other.
- Guns Do Not Work That Way: One of the first clues that the prologue is a dream sequence (aside from being set in a massive Japanese castle) is a gun working in a way it should not.
- 90% of Your Brain : Cobb tells Ariadne that when awake, people use only "a fraction" of their brains, but when sleeping, their whole subconscious is unlocked. This makes sense, to a degree. When you are conscious, immense resources are used to process sensory data. When dreaming these resources are known to be co-opted for other purposes.
- Naďve Newcomer: Ariadne, until she takes a level in badass.
- Names to Run Away From Really Fast: Mal means "bad" or "evil" in many Latin-based languages.
- Narnia Time: Five minutes of real time is an hour in a dream (possibly more depending on the specific sedative that you use). This is compounded with each level of dream you go down.
- Neuro-Vault: A more metaphorical example. In the first dream layer, Browning suggests that Fischer Sr. may have subtly implanted the combination to his safe in his son's head in this way. Plus, according to the universe's rules, a person's subconscious mind often places hidden desires, secrets, etc. inside literal vaults in the person's dreams.
- Never Trust a Trailer:
- The early trailers seemed to imply that the "folding up a city block" thing would be much more crucial to the plot than what it was, basically a party trick. They also cut together dialog to use "inception" as the name for stealing an idea from a dream, but that is "extraction." "Inception" is the film's actual plot of planting an idea within a mind.
- Mal appears on the posters labeled as the Femme Fatale. The implication is that she's part of some rival organization working counter to our antiheroes. In a sense, she is one of our heroes. Also, she's dead.
- Trailer three seems to indicate that Mal is Cobb's wife, and is still waiting for him back at home. Well, one out of two is right...
- Saito was advertised as the main bad guy. He really isn't. In fact, there is no Big Bad at all. The closest people are Mal and Fischer's dad, and they're both dead before the real conflict starts.
- The trailer made the movie look like a lot more of a Mind Screw than it actually was.
- N.G.O. Superpower: The protagonists are trying to stop Fischer's company from becoming this.
- Noodle Incident:
- Every aspect of the dream sharing technology is kept purposefully vague. There are a few interviews online that set up the plot. Cobb's father-in-law is noted as the inventor of the technology. Apparently, the technology was outlawed or regulated some time ago because of some unspecified incident.
- Cobb references "The Stein Job", in which he had previously used the "Mr Charles" gambit. Arthur points out that it didn't work.
- There weren't a lot of legal opportunities for extraction after an incident which may have been Cobb "killing" Mal or maybe something else entirely.
- No One Gets Left Behind: Averted and played straight. In the third layer, just before going into Limbo, Eames says that they're going to go once the kick comes, whether Cobb and Ariadne are back or not. A few moments later, Cobb stays in Limbo to find Saito.
- No Pronunciation Guide: Early on, people were pronouncing Saito's name as Say-toe as opposed to Sigh-toe. This changed later in the film. However, Arthur still messes it up in every line, putting this into Spell My Name with an "S" territory.
- Not Even Bothering with the Accent: Fischer Jr., who's supposed to be Australian (according to his passport), speaks with an American accent. Cillian Murphy, the actor who plays Fischer Jr., is Irish in real life. It is possible that Fischer Jr. was raised in America, or that his mother was American, which would help explain, but none of these things is explicitly stated.
- The Not-Love Interest: Ariadne to Cobb. She grows to understand him more than any of the other crew, and is perhaps single-handedly responsible for saving his soul. At the same time, her concerns are more practical than romantic, as Cobb was taking an enormous gamble with everyone's lives.
- Not My Driver: In the first dream level, the protagonists kidnap Fischer this way. Possibly justified in that they designed the place, so they could make sure theirs was the only cab available.
- Not So Similar: What allows our protagonist to finally overcome the figure in his head that's trying to kill him, is realizing it isn't the person it appears to be and confronting it over the issue.
- Oh, Crap: Cobb's expression in the 2nd dream-state when he hears broken glass which brings to his mind the night Mal killed herself which results in the projection of his children showing up during the Mr. Charles gambit.
- Older Than They Look: Both Cobb and Mal were in Limbo for around 50 years, making them mentally in their late 70s to early 80s. Saito too. And, depending on how long Cobb was in Limbo hunting him, he may be north of a hundred by now.
- If you count the transpacific flight time, which is 10 hours real-time, Cobb hunted Saito through Limbo no less than 9 and a half hours. Multiplied by 20, by 20, by 20 and by 20 again, it comes to a whopping 170+ years. So psychologically, at the end of the film, Cobb is at least 250 years old.
- Once More with Clarity: The final scene with Saito as an old man. Indeed, this scene makes absolutely no sense when it is first shown in the film, and it is only at the end that we understand.
- One Dose Fits All: The Caper depends on six people with a fairly wide range of body types reaching the dream state within a couple seconds of one another, and staying out cold for the same length of time. Justified by the PASIV Device being a Schematized Prop.
- One Last Job: Cobb tells Miles that Saito's job will be his last, and that he's only taking it on so that he can see his children again.
- One-Man Army: Although The Team as a whole is extremely badass, the gold medal of badassery goes to Eames. In the snow level, Eames distracts an entire scout team so that Saito and Fischer can infiltrate the stronghold. He then beats the scout team consisting of several snowmobiles and skiing mooks all by himself, steals one of their snowmobiles, and proceeds to destroy an entire convoy of a snow-Humvee and several skiing mooks by cutting the rope between the Humvee and the mooks with his snowmobile and blowing up the Humvee by throwing up a C4 into the turret-guy's hand. Moreover, when he told the injured Saito to look after Fischer, Eames went outside to the perimeter of the base, defended the base from a ton of Mooks while planting C4 in every pillar.
- Only a Flesh Wound: No characters show injury or bleeding from the blood vessels in their wrists. And at the beginning of the movie, one character yanks the tube off like it's not even sticking out of his body, going against the guidelines of the PASIV manual.
- The Ophelia: Mal's madness starts off Cobb's character arc.
- Opinion Changing Dream: The title and concept of the movie involve attempting to engineer one of these in another person's mind (and without them realizing you've done it, to boot).
- Ordinary College Student: Ariadne, while a skilled architectural student, and as we soon discover, an excellent and precocious architect of the mind, acts as our Audience Surrogate during the planning of the mind-heist, as she is the only character unschooled in the ways of mind crime. She gets to ask questions about the rules of the dream world.
- Orphean Rescue: For those trapped in limbo.
- Painting the Medium: Cobb offers Ariadne a job, and they discuss it while walking through Paris, cutting between several locations. He then asks her how they got to the café they're sitting at. She can't remember what's been happening during the "cuts" and realizes they're in a dream.
- Pants-Positive Safety: Cobb keeps a pistol in the waistband of his trousers, as seen in the beach scene.
- Perma Stubble: Maybe it's Cobb's residual self-image?
- Perpetual Tourist: Eames appears to be playing this role at the beginning of the film.
- Perspective Magic:
- The Penrose Stairs work this way.
- In a meta example, a lot of the film's special effects were accomplished through perspective magic: the zero-gravity fight in the hotel corridor (using a rotating set) and the water meniscus levels going all weird (using a tilting set). Both times, the camera was level relative to the moving set.
- Pinch Me: Averted. Even if you are aware you're in a dream, you can't leave it unless you're given a "kick" in the real world or if you die in the dream world. The very basis is averted too, as you can still feel pain in a dream. Extreme pain, as we learn early on.
- Pin-Pulling Teeth: Saito does this during the final assault.
- Please Wake Up: Used multiple times, sometimes in the "dying" sense, sometimes in the "wake up from sleep" sense.
- Plot Armor: The team (and Fischer, to some extent) seem to be wearing this during the shootout in the rainy city. Their cab is riddled with bullet holes, all of the windows have been shot out, and yet only Saito is hit—once. The car chase in the van with the sleeping heroes is even more egregious.
- Post Cyber Punk: It has some of the hallmarks of cyberpunk — a burned-out protagonist and the powerful Japanese Corrupt Corporate Executive who hires him to brainwash a business rival — but the Japanese guy turns out to be not so bad and is actually trying to prevent a monopoly, the protagonist gets better (sort of), and the brainwashing plays out as Epiphany Therapy. Extraction/inception itself is simply a different take on hacking in Cyberspace, only with dreams instead of computers. Inception mostly achieves post-cyberpunk status by avoiding the '80s-influenced look of cyberpunk, not the story and feel thereof.
- Posthumous Character: Mal. Sort of. Maybe.
- Potty Emergency: Yusuf drank too much and then forgot to go to the bathroom before falling asleep, so in his dream, Los Angeles is rainy.
Eames: Too much free champagne before we went under, eh Yusuf?
Yusuf: Ha ha bloody ha.
- Power Perversion Potential: The projections are one's subconscious. This could get really creepy, really fast.
- You can also change your appearance and gender in the dream, as demonstrated by Eames.
- Precision F-Strike: After Arthur explains to her that you can't wake up unless you die in the dream, Ariadne mutters "What the fuck?".
- Pre-Mortem One-Liner: Arthur says "Paradox" before pushing a mook off the Penrose Stairs.
- Prequel: "The Cobol Job", the story leading up to the events of the movie.
- Pretty Little Headshots: When Cobb shoots Arthur in the head at the start of the film so the latter can escape from the dream.
- Properly Paranoid: All dream extractors keep a special "totem" with them that's supposed to help them determine whether they are in someone else's dream or not.
- Previews Pulse: The most famous! Its trailer featured a distinctive sound that quickly became memetic.
- Put Down Your Gun and Step Away: Played straight and then promptly subverted in the beginning. Cobb puts the gun down when Arthur is brought in at gun point, then makes a grab for the gun to snap Arthur out of the dream.
- Psycho Dead Wife: Mal.
- Race Against the Clock: Played with; it's a race alright, but it's different clocks for different characters. Essentially, clocks within clocks within clocks: the "kicks" that wake people one stage closer to reality, but don't work more than one level deep.
As each dream level has a timed kick, and time slows down further with each level downward, the twist is that if you don't make one kick, you're stuck having to possibly wait what feels like years in the lower level. Stuck there while everyone is trying to kill you, as someone the level above you arranges another kick — if they can do it before being taken by a higher kick themselves. Therefore, the reward the characters get for beating one clock? Beating several more clocks.
- Railroad Tracks of Doom: Mal and Cobb get run over by a train in order to return to the real world.
- Rare Guns: Being in a dream world where everything is possible, Arthur has no problem whipping out a SCAR-L, which in real life costs better than $2500, roughly $4000 with the scope, and is hard to find even if you can afford it. And then Eames upstages him with the revolving grenade launcher.
- Reality Warper: The whole point of having an Architect on the team (in this case, Ariadne).
- "The Reason You Suck" Speech: In the dream limbo, Cobb finally tells "Mal" that she doesn't have the perfections, imperfections, or complexity of his real wife and that she's just a shade. She doesn't take that well.
- Recursive Reality: Recursive Simulacrum subtype, as well as, let's face it, every other mind screw trope. This is an interesting play on the Matrix Hypothesis, since due to Magic A Is Magic A, for some reason the chemical cocktail works the same inside every level of the dream, presumably because Your Mind Makes It Real. Never has a more logical dream been dreamed; presumably Fischer has a very organized subconscious, while Cobb does not.
- Red Oni, Blue Oni: Cobb and Arthur, respectively. Eames even refers to Arthur as a "stick in the mud" with "no imagination." Meanwhile, Cobb is much more intense and reckless.
- Red Shirt Army: The subconscious security... projections of Fischer's heavily self-guarded mind.
- Refusal of the Call: Ariadne tries this, but it doesn't last long.
- The Reliable One: For all that Arthur "has no imagination", he's the best he is at what he does, which is making sure that you get out of any situation in one piece. Definitely the kind of guy you want watching your back.
- The Reveal: The cause of Mal's death.
- Rewarded as a Traitor Deserves: Nash, the architect from the Cobol job.
- Riddle for the Ages: Whether or not Cobb is dreaming in the final scene.
- Rule of Cool: A simple and safe solution for the kick in first level could have been for Jusuf to kick everybody off a chair, but instead of this boring variant they chose to drive a van off a bridge. This was unnecessary risky, since Cobb knew that drowning here would drop them down to limbo.
- Rule of Symbolism: With in-universe justification, no less - that's how dreams work. For example; why is Fischer Sr. lying on a hospital bed inside a bank vault inside an Arctic fortress? Because he has a big secret, of course. Indeed, for a typical extraction, the architect will place a vault in the environment. The dreamer's subconscious will instinctively hide all important/secret information there. Then you just need a good team to extract it. Think of the other things can be added to the environment to aid or hinder a heist and it's easy to see why Nolan thinks the movie has potential as a game.
- Sacrificial Lamb: Nash, Cobb's previous architect.
- Scare Chord: When Ariadne is looking into Cobb's dream and sees Mal in his "house." Mal suddenly looks up at her (and directly at the audience), and BAM! Out of your seat! In this case, the cause of the scare chord is a cute french lady, thus proving that this trope makes anything scary. Considering that this is Mal we're talking about here, and the wide-eyed look she gives Ariadne is not surprised but murderous, the scare chord may not have been entirely necessary..
- Scenery Gorn: Paris exploding near the beginning and the dream city collapsing into the sea near the end.
- Scenery Porn: Near on everywhere. Tokyo, Paris, the snow fortress, the final dream city...
- Schematized Prop: The Portable Automated Somnacin IntraVenous (PASIV) Device, a briefcase containing apparatuses, wires, and a big yellow button, is essentially an automatic anesthesiologist ensuring One Dose Fits All of an extraction team's needs. As is essential for film, it's a brushed-aluminum Zero Halliburton.
- The Schlub Pub Seduction Deduction: In the second dream level, Eames poses as a gorgeous blonde and hits on Fischer in order to distract him while he steals his wallet - and in order to make Fischer more trusting of Cobb's "Mr. Charles" gambit.
- Schrödinger's Butterfly: The characters take great pains to avert this. The ending takes great pains to leave it ambiguous.
- Scotty Time: Eames complains about his lessened time to forge Peter Browning's identity.
Cobb: You're on, you've got an hour.
Eames: I was supposed to have all night to crack this!
Cobb: And Saito wasn't supposed to be shot in the chest.
- Screw the Rules, I Have Money!: Saito is rich/powerful enough to clear Cobb of his murder charge with a single phone call. Then there was this priceless moment when The Team is discussing how to be left alone with Fischer for ten hours during a flight...
But you'd have to buy out the entire cabin. And the first class flight crew. Saito:
I bought the airline. [Everyone looks at him incredulously] Saito: [awkward] It seemed neater
- Secret Test: Saito's test of skill, which the team (and Cobol) mistook for a job. In level 2, they succeed in getting the documents (though key info is blacked out), but fail in Saito's eyes because the deception was obvious (or so he thought at the time). In level 1, they fail because of the carpet mix-up, but succeeded in impressing Saito. The architect is removed from the team for screwing up basic details and being willing to sell out the team, leading to the team recruiting Ariadne.
- Sherlock Scan: Saito figures out that the Action Prologue is a Dream Within a Dream — not because of the explosions happening everywhere, but because the shag carpet on the floor of his girlfriend's apartment is polyester, not genuine wool. Saito is definitely earning his salary as The Chessmaster.
- Ship Tease: A small one between Ariadne and Arthur after the rather humorous Fakeout Makeout.
- Shoot the Hostage: In the opening mission, Saito takes Arthur hostage to press the envelope from Cobb. However, the latter doesn't bother and kills Arthur with a clean Pretty Little Headshots. After all, we are in a dream.
- Shoot the Money: Did they ever. Filming took place in six different countries, and the filmmakers made sure to make creative use of the exotic scenery. They don't just show you downtown Paris — they fold it on top of itself. They don't just set a few scenes in an ancient Japanese castle — they flood it, and then blow it up. And so on.
- Shout-Out: Has its own page.
- Sir Not-Appearing-in-This-Trailer: Yusuf, despite being a key player in the dreamscape, doesn't appear much in the promotional material, certainly not as much as the big stars. Mal isn't in much of the trailers either, though she does make it to the posters. In fact, on the main theatrical release poster that shows the entire team, Yusuf is pictured despite the fact his actor isn't among the sizeable billing list of actors; even Pete Postlethwaite and Tom Berenger receive a mention in the billing despite appearing just a few minutes apiece in the film, but poor Dileep Rao is left out...
- On a positive note, his is one of only three actors names to appear on the Netflix envelope for the movie.
- Sixth Ranger: Saito, as well as Ariadne. And, in one of the best Batman Gambits ever, Fischer himself.
- Slow Motion Fall: The van in first level is going off the bridge in slow motion.note
- The Slow Path: Cobb and Saito being trapped in limbo state.
- Smart People Play Chess: There are several chess references in the film, including Ariadne's totem (which is a bishop), the black-and-white tiled floor of the fortress, and the character name Robert Fischer, after Bobby Fischer.
- The Smurfette Principle: The crew consists of around six guys and one girl. There is one other important female character, and for most of the film, she's a projection of the main (male) character's subconscious.
- So Much for Stealth: What happens if you tip off the "projections" to your presence.
- Soundtrack Dissonance: Je ne regrette rien. The rather upbeat melody already fits the trope to a T, but for added bonus, the title means "I regret nothing", and the lyrics are about starting a new life without any remorse or remaining attachment to the past, in a film where the struggle against remorse and regrets is a major narrative theme.
- In addition, the Epic music for the later parts of the movie are just Je ne regrette rien slowed down substantially, as it could be expected to be heard by the crew while several layers down from the source of the music.
- Spanner in the Works: Several.
- Cobb's projection of Mal in the extraction at the beginning and almost again later when she kills Fischer in the snow level. It takes Cobb and Ariadne going into limbo to retrieve him to save the mission.
- Level 1 holds two spanners. First the train that unexpectedly smashes through the streets and almost sabotages the kidnapping of Fischer. Later the mooks force Yusuf to drive the truck off the bridge prematurely. The kick comes too early, but the team members in lower levels adjust to this hick-up by aligning their kicks to the next kick in Level 1 (truck hitting the water).
- Spiritual Successor: Word of God says this movie is Nolan's homage to Dark City. He came up with the idea for it after seeing that film, which is the lesser-known rival to The Matrix. It then spent ten years in development while Nolan wanted experience working on big-budget films. Meaning that The Dark Knight was a warm-up.
- Spotting the Thread: In the prologue, Saito figures out that he's still dreaming by recognizing that the carpet in his love nest is inauthentic. So it's not so much spotting the thread as spotting the thread count.
- Stealth Pun: They spend much of the movie talk about "training your subconscious" ... and then they bring in an actual train.
- The Stinger: At the end of the credits Edith Piaf's "Non, Je Ne Regrette Rien" plays at normal speed, then slows down to the speed it was at the beginning of the film during Hans Zimmer's score and throughout the movie. Then we see the title stop in the center of the screen as the song ends.
- Storming the Castle: The fortress assault.
- Stuff Blowing Up: The fortress in third level being blown up to great effect.
How did you get here? Where are you right now?