SPOILER SPOILER SPOILER (as if you'd have read this far if you hadn't seen the movie).
1up wrote:The top, did it keep spinning or did it drop?
I believe that all of it (the whole movie) was Cobb dreaming. Why? Because his 'token' was not his. It was Mals'. He did not know the 'weight' of it, and with being so paranoid about being awake or not, and believing that 'his' top layer, was where he was awake, that might make his subconcious convinced that this was the reality and make the top fall over.
the top at the end was a cheap trick to get people talking. They did the same thing in xmen 3 with the chess piece
I don't really think the top was a cheap trick at all. X-Men 3, yes, because it was basically "Just so you know, we're totally making a sequel, okay?" I think Inception's ending was a bit more solid--it's definitely something you can interpret within the scope of the film itself, and not just one of those stoned, "Whoa, man, what if..." sort of discussion points.
I've seen a few different places on the Internet where people mentioned the top as an indication he was dreaming the whole time (the entire film), but I couldn't really find the textual support to back that idea up--especially if you start suggesting that the subconscious alters a dream's reality in a way other than by populating it with dream people.
I think he's still dreaming, and here's why: In the first half of the film, every time he wakes up from a dream, he spins the top, and the top falls down. The last time we see him spin the top is after waking up from testing out the compound that Yusef formulates. Cobb is in the bathroom, splashing water on his face, he goes to spin the top and is interrupted by Saito. He drops it. That's the last time we see him attempt to verify his reality, and he is unable to do so.
And why are his kids, at the end, still about the same ages and in the same position outside when he comes to greet them? (To be fair, this might not be significant; my friend noted that IMDB has two sets of kids, of different ages, playing Cobb's children, so maybe I wasn't paying as close attention as I thought).
Also, in the first half of the film, he's so desperate to always see the outcome of the spin, but in the end the top is almost an afterthought. My take was that he just didn't care anymore--he'd come to a sort of closure with his wife and was at a place where he could finally see his kids again. Whether that place was a dream or reality didn't seem to matter.
I suppose that's why I think so highly of the film. I thought Cobb and his struggles created an excellent character, and it was rewarding to see a resolution for him at the end. But even on my first viewing I doubted that resolution was the real thing, but found myself wondering if it even mattered as long as the character was in a place where he finally had some peace. I think that's the mark of a good story, (film or literature) when some aspect of the narrative gives you something to consider when you're finished.