Spinning Top, Part One is a the first of five episodes devoted to an examination of Poe's "Dream Works" and Christopher Nolan's movie "Inception." This episode emphasizes that Poe's characters are often haunted by memories and past traumas, while Inception reflects this with Cobb (Leonardo DiCaprio) grappling with his deceased wife Mal, who manifests within his dreams. The film explores how unresolved issues and memories can shape our perception of reality, a theme also central to many of Poe's works.
Spinning Top, Part One is a the first of five episodes devoted to an examination of Poe's "Dream Works" and Christopher Nolan's movie "Inception." This episode emphasizes that Poe's characters are often haunted by memories and past traumas, while Inception reflects this with Cobb (Leonardo DiCaprio) grappling with his deceased wife Mal, who manifests within his dreams. The film explores how unresolved issues and memories can shape our perception of reality, a theme also central to many of Poe's works.
Welcome to Celebrate Poe - Episode 233 - Spinning Top, Part One.
You may remember from earlier episodes that I planned to compare the concepts of chronos, kairos, and dreams in the works of Poe and in Christopher Nolan’s Inception. Well, I did look at some relevant passages in the Bible for several episodes, and then some passages from Shakespeare. And I originally intended to look at some passages form Poe, and then the movie Inception. This episode exams Poe’s some of Poe’s works regarding dreams and compares them to the movie Inception directed by Christopher Nolan. But while I was writing some episodes on Poe and Dream’s, I began to realize that it would be more interesting to delve in to some of Poe’s works and the movie Inception in the the same episodes because many of Poe’s works and the movie Inception have so much in common. Besides - this podcast will also deal with Poe’s dream Poe’s from a different point of view when I look at Poe’s dream poems from a strictly chronological standpoint - but I will get into that in the future.
Now, in 1829, Poe wrote what many scholars consider a precursor to A Dream Within a Dream in the three verses of To blank. The poem was first published in Al Aaraaf, Tamerlane, and Other Poems
The bowers whereat, in dreams, I see
The wantonest singing birds
Are lips—and all thy melody
Of lip-begotten words —
Thine eyes, in Heaven of heart enshrin'd
Then desolately fall,
O! God! on my funereal mind
Like starlight on a pall —
Thy heart—thy heart!—I wake and sigh,
And sleep to dream till day
Of truth that gold can never buy—
Of the trifles that it may.
In 1849, Poe wrote the more familiar A Dream Within a Dream. The poem dramatizes the confusion felt by the narrator as he watches the important things in life slip away. Realizing he cannot hold on to even one grain of sand, he is led to his final question whether all things are just a dream.
Many scholars have suggested that the "golden sand" referenced in the 15th line signifies that which is to be found in an hourglass, consequently sequential time itself.
So we are back to Chronos again!
Now remember that A Dream Within a Dream was written during Poe's last year on earth. Many scholars believe the poem dramatizes the confusion felt by the narrator as he watches the important things in life slip away. Realizing he cannot hold on to even one grain of sand, he is led to his final question whether all things are just a dream - or even a dream within a dream.
Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow—
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.
I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand—
How few! yet how they creep
Through my fingers to the deep,
While I weep—while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?
That has to be one of Edgar Poe’s best works, as he uses the symbolism of sand pouring though an hourglass to communicate the universality of chronological time, and our inability to accept its reality.
Dream ambience sound from Garage Band
Fast forward to 2000 - this is when Christopher Nolan released his first movie - Momento - a movie that really plays with time.
In Momento, the film follows Leonard, a man with short-term memory loss and the inability to form new memories—he uses an elaborate system of photographs, handwritten notes, and tattoos in an attempt to uncover the perpetrator who killed his wife and caused him to sustain the condition.
The film's non-linear narrative is presented as two different sequences of scenes interspersed during the film: a series in black-and-white that is shown chronologically, and a series of color sequences shown in reverse order (simulating for the audience the mental state of the protagonist). The two sequences meet at the end of the film, producing one complete and cohesive narrative.
10 years later, Christopher Nolan also played with time in the movie Inception. The hero of the movie is Dom Cobb (played by Leonardo DiCaprio), a professional thief who steals information by entering people's dreams. He's offered a chance to return to the United States (from which he's a fugitive) by performing "inception," the planting of an idea within a target's subconscious. The film dives into the complexities of dream-sharing, with multiple dream layers creating a distorted sense of time.
This year Christopher Nolan received an Oscar for directing Oppenheimer. You may remember in the episode about Oppenheimer and Poe, I mentioned that I really did not enjoy the movie Oppenheimer that much - especially considering the fascinating story of Oppenheimer’s life. But I thought Nolan’s Inception was fascinating - and I am eager to see it again several times - I can’t imagine ever watching Oppenheimer again. But I digress from the topic of Inception and Poe.
Inception definitely deals with linear, chronological time in its plot. Inception portrays this through the use of a "kick" (a signal that jolts the dreamer awake) within the dream world. In the film, minutes spent in the dream world can translate to hours in the real world. - kinda like real life. This creates a ticking clock element and suspense as characters risk being trapped in the dream world.
Now stay with me on this one -
Inception also deals with non-linear, subjective time perception. Dreams are inherently subjective experiences, and Inception emphasizes this by portraying dream worlds that can bend and distort to the dreamer's perception of time. The film explores how emotions and experiences within the dream world can warp a character's sense of time.
Both the film and Poe's poem, A Dream Within a Dream, explore the frequently unreliable nature of dreams and the blurring of dream and reality. The poem's repetitive line "Is all that we see or seem but a dream within a dream?" resonates with Inception's exploration of dream layers. In fact, one of the selections on the great Hans Zimmer soundtrack is called “A Dream Within a Dream.”
The film establishes a concept where time flows differently within dream layers. A short time in the real world can translate to a much longer duration within the dream. This is visualized by the use of a kick, a powerful signal that jolts the dreamers awake if they don't escape the dream before it goes off.
For example, a ticking clock might create a Chronos time scenario. As I mentioned earlier, Characters have a limited window to complete their mission within the dream before the kick wakes them up in a potentially dangerous situation (often another dream layer). This time pressure adds to the film's suspense and keeps the audience engaged.
By manipulating Chronos time, the film can play with the narrative pace.We can experience extended dream sequences that feel significant within the dream world even though they might be a brief moment in real time. This allows for complex dream world exploration without losing the urgency of the real-world clock.
And if you want to play some of this over because it come across as confusing, well, I completely understand.
Now the unreliability of Chronos time within dreams emphasizes the characters' lack of control. They can't predict how much time they have or how long things will take. This adds to the overall sense of disorientation and danger within the dream world.
Even so, it is important to note that Chronos time isn't completely abandoned. The concept of the kick and the need to complete the mission within a timeframe establishes a sense of boundaries within the dream world. It prevents the narrative from becoming entirely subjective and formless. In other words, without the kick and the need to act within a timeframe, the story would just become a big formless, blob.
In essence, Chronos time in Inception functions as a tool to build suspense, create unique dream world mechanics, and add a layer of danger and urgency to the film's core conflict.
The concept of time dilation creates a constant sense of urgency. Characters are racing against the clock within the dream world, and the audience is aware that failure could have disastrous consequences (such as waking up in a dangerous situation within another dream layer). The ticking clock element keeps the audience on the edge of their seats, constantly wondering if the characters will complete their mission before the kick jolts them awake.
And if this sounds more than a little confusing - well it is. There are people out there who have seen Inception dozens of times trying to understand the various dreams within a dream within a dream within a dream and so on -
And by manipulating Chronos time, the film can delve deeper into the dream world. We can experience elaborate dream sequences that feel significant and detailed within the dream, even though they might be a brief moment in real time. This allows for richer storytelling within the dreamscapes without sacrificing the tension of the real-world time pressure.
The unreliability of Chronos time in Inception emphasizes the vulnerability of the characters. They have no control over how long things take within the dream. A simple task could take much longer than expected, throwing their plans into disarray. This loss of control adds to the overall sense of danger and disorientation within the dream world.
And while Chronos time creates urgency, it also serves as a contrast to the subjective nature of dreams themselves. Dreams can feel like they last forever, or they can be fleeting experiences. By having a set timeframe within the dream, the film emphasizes the discrepancy between objective time and our subjective perception within dreams.
Confused yet? Or are you past confused?
Think of it this way - the use of Chronos time in Inception can often be seen as a metaphor for the way we manage time in real life. We often feel like we're constantly racing against the clock, with deadlines and limited resources. Inception reflects this experience by presenting characters struggling to complete their mission within a limited timeframe.
Ultimately, Chronos time is more than just a plot device in Inception. It becomes a narrative tool that enhances the film's suspense, allows for deeper exploration of the dream world, emphasizes the characters' vulnerability, and adds layers of meaning to the overall story.
In nearly all movies we see, Chronos time usually refers to the representation of linear, measurable time. It's the kind of time you see on a clock or calendar, where minutes tick by at a steady pace.
Chronos time therefore serves as the foundation for most films. It establishes a clear sequence of events and helps the audience follow the story's progression. Flashbacks and flash-forwards are deviations from Chronos time, but they still rely on it as a reference point.
Filmmakers manipulate Chronos time to control the narrative pace. Slow-motion sequences can stretch out moments for dramatic effect, while fast-forwarding can condense long periods of time. This allows for focused storytelling, emphasizing important moments and skimming over less significant stretches.
Chronos time can be a powerful tool for building suspense. Tight deadlines, ticking clocks, and time bombs all create a sense of urgency and raise the stakes for the characters. The audience becomes invested in whether the characters can achieve their goals within the allotted time.
Will the two lonely lovers learn that they are meant for each other?
Will the famous author finish his or her novel?
Will Bilbo Baggins reach the golden treasure before the angry dragon?
Even in fantastical or science fiction films, Chronos time can be used to provide a sense of grounding and realism. For example, a film set in space might reference travel times between planets or the time it takes for messages to travel across vast distances. This helps the audience connect with the world despite its fantastical elements.
Sometimes, filmmakers use Chronos time to create a contrast with a character's subjective experience of time. For example, a scene depicting a traumatic event might be slowed down to emphasize the character's emotional state, even though the actual event might have transpired very quickly.
It's important to note that Chronos time isn't the only way to represent time in film. Some films might utilize a more subjective approach, focusing on a character's perception of time. This can be particularly effective in dream sequences or when depicting altered states of consciousness - and absolutely necessary in a movie like Inception.
Overall, Chronos time remains a fundamental tool in a filmmaker's arsenal. By manipulating its use, creators can shape the narrative flow, build suspense, and connect with the audience on a deeper level.
DREAM MUSIC
Poe's stories, like "Ligeia" and "The Fall of the House of Usher," delve into the mysteries of dreams and the human psyche. Inception directly tackles these themes, portraying dreamscapes as complex and potentially dangerous realities. It could even be said that Poe's exploration of the subconscious mind provides a foundation for Inception's world-building.
Now a recurring theme in Poe's work is the uncertainty of reality, particularly in stories like "A Tell-Tale Heart" and "William Wilson." Inception masterfully utilizes the overall theme of unreality, constantly leaving the audience questioning whether the characters are truly awake or trapped within a dream. Poe's influence is evident in the film's exploration of unreliable narrators and subjective experiences.
Poe's characters are often haunted by memories and past traumas. Inception reflects this with Cobb (Leonardo DiCaprio) grappling with his deceased wife Mal, who manifests within his dreams. The film explores how unresolved issues and memories can shape our perception of reality, a theme central to many of Poe's works.
In conclusion, Poe excels at creating a sense of unease and psychological horror by planting seeds of doubt in the reader's mind. Inception accomplishes this through its dream-bending visuals and the constant threat of the characters getting lost within the dream world. The unresolved ending of a top spinning perpetuates this unease, forcing the audience to grapple with the possibility that everything they thought was real was just another illusion.
The movie’s director has stated that the ending is meant to be ambiguous, and that the question of whether it's a dream or reality is less important than the hero achieving his goal. In the end, the spinning top's fate is left unresolved, allowing the audience to draw their own conclusions about whether Cobb is still trapped in a dream or has finally returned to the real world.
Join Celebrate Poe for Episode 236, Spinning Tops, Part Two for a further dive into Inception and Poe’s dream works.
Sources include: The Complete Works of Edgar Allan Poe by Edgar Allan Poe, as well as the movies Inception and Momento, both directed by Christopher Nolan,
Thank you for listening to Celebrate Poe.