But just as we have not grown attached to Nash he dies too soon in the movie , Cobb's dream-state allows him to "forget" this as well. Meanwhile, Saito clearly has no fears of Cobb attempting to avenge this murder; notice how once he becomes a member of the team we see no evidence of his wealth and power being used to enhance his personal safety. In short, no bodyguards for a man who can buy an airline how comic-book is that! Even the set-up for the main plot of the movie is not worthy of bad airport fiction.
Namely, the idea that a wealthy Japanese man can fix Cobb"s problems with the law in America with one phone call. Additionally, everything associated with Robert Fischer is just plain silly, from Saito's reason for having this idea planted in Fischer's head to Fischer's cliched relationships with his distant father, Peter Browning, and the company he will inherit. This part of the story is so obviously a side-show to the real story Cobb's story , that its resolution, the moment when Robert tells Peter he will sell off the company, is something we can't wait to get out of the way so we can find out what the hell happened to Cobb and Saito.
And what did happened to them? When, 50 years later, Cobb meets up with Saito at both the beginning and end of the movie , why is Cobb still young? Speaking of time-continuum issues, why don't Cobb's children age? And why is Saito echoing the line Mal says to Cobb right before she jumped from the hotel room "I'm asking you to take a leap of faith"?
There is an answer to all of this: the entire movie is Cobb's dream, a dream he is stuck in because his wife was right and he was wrong. She is wrong, but she is also not Mal. She is Cobb's projection of Mal, and she is saying what Cobb thinks Mal believed. The real Mal never says Limbo is real. I'm considering Cobb's memories of Mal, as expressed in the dreams he shows Aiadne, to be the real Mal.
The real Mal, as best as we can figure from Cobb's memories, never claims they are going "back" when she jumps from the hotel, just that they are going home. It's Cobb who says that Limbo became her reality. The idea that possesses her is that her world isn't real. Not necessarily that Limbo, the world they just woke up from, is real, but that they needed to wake up from this dream. Just as the movie begins with a dream-within-a-dream and drives towards a scheme to have a dream-within-a-dream-within-a-dream and which then goes one dream further , Mal realizes when they awake from 50 years in Limbo that they are still within a dream.
What could be more "rational" for a story that keeps pointing out nested dreaming to us? She doesn't jump to her death return to Limbo; she jumps to return to reality, to wake up from a second dream. It is Cobb who is trapped in a dream world by his refusal to admit his uncertainty about what he thinks is reality. It might not be, and as an expert extractor, he should know to always ask that question.
Ah, but Cobb knows what is reality because of the spinning top. The totem idea is what tricks us. We believe in the totem just like Cobb does. So we assume that what Cobb"s totem says is real, is real. Only at the end, when the top keeps spinning as Cobb goes to embrace his children, are we woken to the idea that we may be mistaken.
Recall that you don't let others touch your totem. You're about to delete the following post: This post was originally posted via chat:. He is kind and caring, and acts as a mentor to Cobb in the face of Mal's death and Cobb's subsequest months on the run from the law. He is also Ariadne's college professor. He is portrayed by actor Michael Caine.
When Dom finds himself in need of a new architect, he appeals to Miles, his mentor and former teacher. Miles suggests Ariadne. Miles acts as an intermediary between Dom and his children, James and Phillipa, bringing them gifts from their father. It is unknown whether he has accepted the nature of Mallorie's death, or if he sees Dom as her murderer.
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