Why is mal on the other side of the hotel in inception

Remaining behind to find Saito, Cobb comforts the projection as she recalls a promise that Dom had made to Mal to grow old with her before he goes to find Saito in Limbo. And she and Leo together portray an incredibly moving couple. Inception Wiki Explore. Top Content.

Admins Samsonius Matias Arana 10 Skxwang. Explore Wikis Community Central. Register Don't have an account? Mallorie Cobb. Edit source History Talk 1. Cancel Save. Universal Conquest Wiki. Eye Color. With closed loops and confusing geography, the dreamers can exist within the subject's mind long enough to do what they need to do before getting torn apart by the projections.

Arthur also reveals that Cobb doesn't build dream layouts anymore, out of fear that if he knows the layout of the dream, so will his subconscious projection of Mal. Ariadne learns even more about Cobb's complicated relationship to his subconscious projection of Mal when she enters his dream late at night. It turns out that Cobb has been using the shared dreaming device to help him dream, since repeated exposure to the machine means that he can no longer naturally dream.

In this particular dream, Cobb is both dreamer and subject, while Ariadne is only an interloper exploring his memories. She has no control over the geography, while Cobb has filled his own dream with projections. Specifically, Cobb has built multiple levels of a building, each filled with his time with Mal and each representing a different moment that he wants to relive, or in some cases, that he wants to change.

In the real world, Mal killed herself while framing Cobb for her murder, making it impossible for him to return to America to be with his children. After finding out how deeply Mal is buried in Cobb's subconscious, Ariadne insists on accompanying the team into Fischer's dream, rather than just being the architect behind it.

Only she understands how dangerous Mal, and by extension Cobb, can be. With Saito along for the ride, Cobb assembles his crew to perform inception on Fischer during the flight from Sydney, Australia, to Los Angeles. The goal is to incept within Fischer the desire to break up his father's business empire, which will keep Fischer from destroying Saito's own company.

In return, Saito will use his influence to clear Cobb's murder charge, letting him return home. When the crew finally starts the heist, they end up in a rainy city. In this dream, Yusuf is the dreamer, following a design created by Ariadne, while Fischer is the subject.

The team kidnaps Fischer, but his subconscious has been trained to resist, which means that his projections are highly trained and weaponized. Cobb also reveals a key detail that he kept from his team. In order to incept Fischer, they need to go down three dream levels Instead of waking up when they die in the dream, anyone fatally wounded is sent down to limbo, pure subconscious dreamscape, where they might never escape.

That's bad news for Saito, who's wounded when they initially grab Fischer. Soon, Eames disguises himself as Peter Browning Tom Berenger , Fischer's godfather, in order to spark the idea that Fischer's dad wanted his son to destroy the empire. Then Cobb and his team, disguised as kidnappers, throw Fischer into a van driven by Yusuf. Once he's in, they send the team, minus Yusuf, into the second dream layer. On the first level, Yusuf will drive the van away from the attacking subconscious projections, timing out the "kick" meant to knock everyone back up to the next dream level with a musical cue.

And yeah, it doesn't help matters when a train randomly shows up in the middle of the street, courtesy of Cobb's unstable subconscious. Within the hotel, Saito has a bit more time before he dies, since each dream level gives the team 20 times the length of the previous layer. But because of Fischer's increased subconscious protection, Cobb opts for a risky plan. He's going to tell Fischer that he's in a dream, but that Cobb, going by Mr. Charles, is an implanted projection meant to protect Fischer.

In effect, the gambit is meant to trick Fischer into joining the heist on his own mind. Of course, Fischer's projections will still attack the team, since his own belief that Cobb is on his side doesn't extend to his subconscious projections.

Still, the gambit works, and Fischer and Cobb head to a hotel room where they confront Fischer's subconscious projection of Browning. Fischer believes that his subconscious projection of his godfather is the Browning who was actually Eames in disguise that he met on the first dream level — which he now believes to be reality.

Simple, right? The team convinces Fischer to use shared dreaming to go into Browning's mind to see if the man is hiding anything from Fischer, but that's just a trick meant to disguise the fact that the team is actually heading into Fischer's third dream level. Meanwhile, the hotel is Arthur's dream, so he's required to stay behind to fight projections and provide the kick by blasting the floor out from under the dreaming team.

In the third layer of the dream, the team winds up on a snowy mountain. Saito is to bring Fischer into a safe inside a fortress where they can permanently incept the idea, while Eames, Cobb, and Ariadne provide cover and a distraction.

The first time, the words are those of Saito Ken Watanabe , in his helicopter in Kyoto, when he first approaches Cobb about the possibility of inception. The final utterance happens near the end of the film, in Limbo, as Cobb finds the aging Saito. In Inception , too, everybody has their box — be it a safe, a fortified hangar surrounded by armed guards on skis, or a stop on an elevator on which no one is allowed.

Cobb defeats his regret by finally telling Mal that the two of them did grow old together in their shared dream. In other words, he fulfilled his wedding promise to her. Mal and her shadow - Mal is the character who acts as a vessel for all the more complex notions and questions about reality the film raises.

Mal not only thought but felt that the world she and Cobb had built in limbo was real - it fed her emotionally and made her happy. When Cobb planted the idea that "Your world is not real" in her mind, he only meant for it to wake her from limbo. Instead, what he actually did by allowing that idea to take root in her mind was to destroy that sense of fulfillment and connection she once had - and once it was destroyed, it couldn't be repaired.

Even with her husband and children all back together, Mal couldn't access that emotional reality that comes with the bond of love and connection to our love ones. Because of inception, Mal couldn't value love or connection the same way because a fake reality only offered fake connections and emotions - only she and Cobb and their love was real to her anymore.

She needed to keep trying to reach some higher state where the nagging doubt would be cured and she could be happy again. And so, thinking Cobb lost in a faux reality, she arranged the hotel suicide and murder implication in order to force Cobb to follow her. The idea Cobb implanted in her led her to her death seemingly , and the guilt of that act led Cobb to create a shadow of her in his subconscious. At the climax of the film, Mal throws deep questions at Cobb and the audience asking if having faceless corporations chase somebody around isn't yet another dream state.

She questions the very nature of reality for all of us and certainly whether or not the faux reality of film isn't its own sort of dream state - a place where fantastic things occur - an imagined place we as movie goers share and perceive differently and fill with our own subconscious views and interpretations.

Pretty deep meta-thinking stuff. There are a ton of theories being tossed around the Internet about the ending of Inception , the two biggest debates being whether Cobb was still in a dream or did he in fact return to his children in the "real world. The ending of Inception is meant to leave you thinking and questioning the nature of reality. The important question is not " Is Cobb still dreaming?

From the moment that Cobb and Saito seem to wake up from limbo, Nolan very purposefully shifts the film into an ambiguous state that leaves it somewhat open to the viewer's perception and interpretation of that perception - two big themes of the movie, coincidentally enough. From the moment Cobb and Saito wake, there is no more dialogue between the characters and few shots or images that would concretely explain or prove one interpretation.

Is Cobb still dreaming and his team and family and maybe Saito are all projections? Or is it the job completed, everyone is back in reality and everything is happily ever after? There are a few pieces of "evidence" that we can certainly address:. At the beginning of the film, after the first job Cobb's team tries to pull on Saito, we see Cobb sitting in his hotel room alone, spinning the top and watching it intently, gun in hand.

This is a guy who is ready to blow his brains out if the top keeps spinning, in order to "wake himself up. Throughout the film, Cobb continues to obsess about spinning the top and verifying reality - however, at the end of movie, he spins the top and walks away from it before he can verify if it stops spinning or not.

He just wants to be with his children, in whatever place he can be with them. That emotional connection and desire is "reality" enough for him.

In the end, Cobb walking away from the top is a statement in itself that also completes the arc of his character. In a way, the movie is its own maze designed to plant a simple little idea in the viewer's mind: "reality" is a relative concept.