Il s’agit d’un des points qui fait beaucoup réagir ceux qui tentent d’expliquer le film Inception.
Présentons tout d’abord un petit peu les choses.
Dom a eu deux enfants avec Mall : un fille, Philippa, et une garçon, James. Après le « suicide » de Mall, Dom a été accusé à tort de son meutre, et il a donc dû quitter les Etats-Unis et ses enfants afin d’échapper à la prison. C’était 2 ans avant l’action principale du film, Phillipa avait environ 3 ans et James presque 2 ans. Ses enfants sont depuis ce jour là toujours aux Etats-Unis, gardés par leur grand-mère maternelle.
Pendant ces 2 ans, Dom n’a pas revu ses enfants, et il a pratiqué le métier illégal d’extracteur. Il les a de temps en temps par téléphone, mais il ne les a jamais revus en vrai, car il serait aussitôt arrêté. Cet éloignement lui pèse terriblement, et son vœux le plus cher est de les retrouver et de reprendre une vie normale à leurs côtés.
Depuis, il en « rêve » souvent, les revoyant tels qu’il les a gardés dans ses souvenirs, à l’époque heureuse où Mall était toujours en vie et où ils formaient une famille unie. Dans ce souvenir, Cobb les revoit toujours avec la même attitude : de dos, avec les mêmes habits, en train de jouer paisiblement pendant que lui les regarde. Mais il ne peut jamais voir leur visage, sa vision s’interrompt dès qu’ils se retournent. C’est pour lui un blocage psychologique.
Venons en maintenant à ce qui fait que cette vision des enfants de Dom constitue un indice important dans l’interprétation du film Inception permettant d’appuyer ou non les différentes théories sur la fin du film.
Pendant tout le film, Dom voit ses enfants toujours de la même manière, en souvenir (cf plus haut).
A la fin du film, lorsqu’il les retrouve, la ressemblance avec le souvenir de Dom est particulièrement ambigüe et troublante…
A première vue, à la fin du film, les enfants semblent exactement identiques à leur aspect dans les souvenirs de Cobb (ce qui va dans le sens des théories « pro-rêve ») :
- même âge alors qu’ils auraient dû grandir (cela devrait se voir plus, surtout à cet âge où les enfants changent très vite en 2 ans)
- même habits, alors que cela est vraiment peu probable, surtout en ayant grandi
- même situation (en train de jouer) et même attitude (de dos) avant que cette fois-ci, ils ne se retournent enfin et qu’il découvre leur visage
Une étude plus poussée remet en cause ces premières affirmations, en disant que les enfants ont bien grandi, même si ils se ressemblent en effet beaucoup (ce qui va dans le sens des théories « pro-réalité ») :
- au générique de fin, 4 enfants sont mentionnés au casting et non 2 (vu sur allociné) : deux filles pour jouer Phillipa (à 3 ans et à 5 ans), et deux garçons pour le rôle de James (à 20 mois et 4 ans).
- les chaussures des enfants seraient différentes de celles du souvenir de Dom
Ces éléments semblent à première vue accréditer les défenseurs des théories « pro-réalité » : si les enfants sont différents, ce ne sont plus ceux de son souvenir où ils sont toujours identiques, donc il est bien dans la réalité à la fin du film.
Cependant, leur forte ressemblance reste très (trop?) troublante, et une autre explication tout à fait plausible peut être trouvée et aller cette fois dans le sens inverse, celui des théories « pro-rêve ».
En effet, les enfants restent trop similaires aux souvenirs de Dom pour que cela soit réellement crédible comme représentation de la réalité… Ils devraient avoir des habits et des attitudes largement différents de la scène que Dom Cobb garde en mémoire depuis 2 ans, et qui est sa seule représentation d’eux. Tout dans cette scène finale parait de plus assez irréel, « comme dans un rêve » (lumière marquée, sons qui résonnent, …). Il est fortement improbable d’avoir une telle coïncidence « pile poil » au moment où Cobb retrouve ses enfants. On ne voit d’ailleurs rien d’autre de l’environnement extérieur : la grand-mère, Miles qui l’a récupéré à l’aéroport et devrait se trouver là également…
Partons donc de l’hypothèse que Cobb est toujours dans un rêve à la fin du film, probablement perdu dans les limbes, sachant qu’il ne peut ramener Saito et que si il se réveille, il ne reverra pas ses enfants et sera au contraire probablement arrêté pour le meurtre de sa femme. Il va alors se laisser aller dans les limbes et se construire SON rêve, seul cette fois-ci. Il parait alors logique et crédible dans ce cas que son subconscient, animé au plus profond de lui par son désir de retrouver ses enfants, ait fait évoluer les projections de ses enfants en les faisant légèrement grandir par rapport à son souvenir d’il y a 2 ans, pour que cela paraisse crédible dans « SA réalité rêvée »… mais sans parvenir à se les représenter vraiment autrement que dans le seul souvenir qu’il a toujours eu d’eux.
Ainsi, cet élément important n’est pas vraiment facile à interpréter. Les défenseurs des deux types de théories trouveront à coup sûr dans les analyses ci-dessus leur bonheur pour accréditer sans l’ombre d’un doute leur théorie !
Alors, indice réel à interpréter, ou à prendre au premier degré ? Réalité ou souvenir adapté ? A moins que cela ne soit qu’un effet de mise en scène du réalisateur, destiné à nous faire cogiter et douter… et bien c’est réussi Mr Nolan ! 
Nous ne sommes donc pas beaucoup plus avancés !
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Je pense qu’on peut aussi imaginer (si on a un esprit complètement fou et tordu tel que le mien) que Cobb revient dans ce que lui appelle « la réalité » (notamment dans les scène où il parle avec Mall). Toute la fin est a reprendre. Tout le monde se réveille dans l’avion, il revient en Amérique etc.Mais, pour cette hypothèse, ce serait lui qui se soit trompé, et non Mall, que ce qu’il dit être la réalité n’est qu’un rêve. Alors tout pourrait éventuellement s’expliquer (les enfants qui sont ressemblants à ses souvenirs puisqu’il ne serait que dans un rêve, la toupie).
Je suis d’accord avec cette analyse : Cobb est encore dans les limbes à la fin du film et construit seul son propre environnement. Sur le blog qui parle de l’alliance, je crois distinguer une alliance à son annulaire lorsqu’il passe la douane de l’aéroport (minutage 2:12:55).
Surprenante la théorie qu’il soit toujours dans un rêve. S’il aime tellement sa femme, alors pourquoi continuerait-il de rêver une vie avec ses enfants aux USA, sans sa femme?
Il aurait été plus simple de reconstruire toute sa petite famille, non?
Je pense que l’alliance est le vrai totem de Cobb, mais il n’y prête pas attention car il a du se dire qu’il pouvait prendre celui de sa femme, en souvenir d’elle. En tout cas, les hommes qui l’ont amené à Saito dans les limbes ont eu la toupie en main et Saito également, elle n’est donc plus fiable à la fin du film.
Dernière remarque, je pense que le réalisateur n’a pas mis l’accent sur l’alliance justement pour nous laisser les clés sans nous les donner directement. Il cherche à nous faire réfléchir, interpréter, on le voit très bien puisqu’il coupe la fin avant qu’on sache si la toupie tombe ou pas.
Petite interrogation complémentaire : Cobb recoit un coup de téléphone de ces enfants dans son Hôtel au Japon après l’extraction ratée sur Saito, Comment est-ce possible dans la réalité, il parait peu probable que la grand mère maternelle conserve un planning précis des allers et venues de Cobb ? ll est nécessairement en train de réver ??
Moi je suis d’accord avec Dieter.
Ils ont eu les enfants avant d’aller dans les limbes car ils ont recréé leurs habitats en fonction de leur passé (avant et après les enfants…) et pourtant on ne les vois jamais dans les flash-back des limbes.
Et je vous rappelle que Mal change constamment d’habits (voir elle s’adapte comme la scène en montagne) et pourtant c’est une projection. Donc les enfants peuvent aussi changer de vêtements, ce n’est pas un problème majeur.
Surtout si Cobb, à la fin, crois que c’est la réalité. Il pense qu’il n’a plus d’emprise sur l’action, donc les enfants peuvent changer d’apparence.
Tout à fait d’accord avec Johan également mais je rajouterai que Mr Nolan en aurait profité pour semer le doute dans notre esprit :
Il parle bien lui même de fin « ouverte » avec la toupie dont on ne sais si elle s’arrête. Or si on part du point de vue de troubler le spectateur, alors il faut que les enfants ressemblent à ceux vus précédemment (couleurs des vêtements, ressemblance entre les 2 enfants) mais pas complètement (habits différents, âge différent,…) afin d’éviter que cette fin soit évidente !
« un fille, Philippa, et une garçon James » oO
Ou peut être tout simplement les enfants de Dom et Mall n’existent pas, ou plutôt existent seulement dans les rêves de Dom.
Cela peut paraitre étrange (/ égoïste?) que les deux parents rêvent ensemble d’une vie longue de 50 ans sans y créer (intégrer) le moindre enfant alors que dans la réalité ils en auraient 2…
Je crois que si les enfants de la fin ressemblent tant à ceux des souvenirs, c’est tout simplement pour que le spectateur comprenne immédiatement. Peut-être que Nolan n’est finalement pas un si mauvais bougre, et que certaines données du film tiennent complètement la route. Les enfants ont grandi, donc on change les acteurs, c’est un autre moment, donc on change leurs habits. Mais pour qu’on les reconnaisse quand même un peu on garde des couleurs semblables. Et voilà : on a un passage scénaristique bien mis en scène
Je rejoins totalement Johan !