“…a visual icon is probably the most resonant example of how you imbue experience, memory and emotion into an object”
—Christopher Nolan

Nolan makes some very interesting iconic choices in Inception. Let’s explore a few:

Elevators
Who knew an elevator could be so cinematic? We first see it used as a device through which Cobb can structure and quarantine his important memories. We see his children on the beach playing at the top level while his home back in the States resides on the intermediate floor. And in the basement, Mal… his deceased wife and shadow self. The basement level is actually the hotel room for their anniversary.

There is a repeated image and sound of a wine glass crushed underfoot. A brilliant object to express the dichotomy of celebration and tragedy — and a broken relationship. We hear a sustained high pitch ring out like a nervous system after it collapses into the floor, possibly as a foreshadowing of the death to come.

Another elevator is also notable at the hotel where Arthur fends off subconscious security agents and then inevitably uses it as a device to give the “kick” that the group needs to go up to the previous dream level.

Trains

“You’re waiting for a train. A train that will take you far away. You know where you hope the train will take you, but you can’t be sure. But it doesn’t matter because we’ll be together.”

As Dick Copaken and Nick Meaney discovered (to their dismay) in the classic Malcolm Gladwell New Yorker article, The Formula, the two most important elements to include in a film to make it be financially successful are:

1. Locations (the more exotic and spectacular, the better)
2. A woman in peril

A woman in peril. We’ve all seen it countless times before. Bad Bart ties the girl to the train tracks and our hero must arrive in time to save her before the train arrives. Nolan turns this cliché completely on its head by having Cobb actually be the one that puts his girl on those tracks! Another way to look at this is as a film about the failure to make such a rescue and the guilt suffered because of it. That guilt becomes a train unto itself — smashing right through the middle of the group’s first created dream. Emotional subterfuge. As they say, the first casualty is always the plan.

Totems
Totems traditionally are religious objects attributed to ancient aboriginal tribes. They establish group identity and create concrete visuals for abstract ideas and concepts. The famous sociologist, Emile Durkheim did extensive research on totems and coined the term “collective unconscious” — a concept that provides the basic framework for Inception — participating in each others’ constructed realities.

As we’ve seen, several of the characters devise their own “totems” to help them determine whether they are in a dream world or back in “reality.” Each of them privately know the particular characteristics of their totem to make such a judgment — such as its weight, feel or performance. Curiously, all four totems can be associated with games.

• Poker Chips
  Eames uses poker chips, which we can associate with gambling, but most particularly money — that of value. The game of poker involves deceit — the poker face. It’s no coincidence that Eames is the shapeshifter of the group. A reminder of the value in identity.
• Loaded Dice
  Arthur’s totem. Again we have a gambling device. This time one that’s more active. Ordinary dice would leave the future completely up to chance, but these are loaded for a specific outcome. Perhaps a comment on the illusion of free will? To rig a game that’s already a part of a larger rigged game itself.



• Chess Bishop
  The totem crafted by Ariadne reflects on her personality as well. She is the maze architect — the logical backbone to the group. Her totem reflects this rigidity to rules and principle. Perception.
• The Top
  Back to the top. The spinning top is the oldest toy known to humankind. It also evokes the image of the prayer wheel and thus, a reason for existence. Cobb determines reality by whether or not it falls after he spins it. As we come to find out though, whether or not it falls also depends on whether or not he’s still looking at it. Faith.

The Inception of Visual Icons

“I also think it’s noteworthy how the team must use symbols to construct an emotional narrative for Fischer. This is extremely similar to the way a filmmaker uses symbols to give an idea to an audience.”
— Christopher Nolan

Nolan in particular uses such symbols to establish emotional significance, more so than character development. The characters of his film are in fact totems — more representational than real. With such abstractions, he offers us a film with enough space to bring our own meanings to it as well. Like an empty safe, waiting to be filled.

SOURCES:

The Architect of Dreams
Creative Screenwriting
Jeff Goldsmith
July/August 2010, Vol. 17, No. 4

The Formula
The New Yorker
Malcolm Gladwell

Q&A: Christopher Nolan on Dreams, Architecture, and Ambiguity
Wired Magazine
Robert Capps