whenever I read the screenplay I notice how easily dry this dialogue could’ve been in regards to the character dynamics. Yes there already is implied history written into the script but the wistful drawl with which Tom Hardy says “Arthur?” Gratuitously life-changing. TH and JGL SOLD that ship with their suggestive performances. Don’t even get me started on the ad-libbed “darling” and the hotel room PASIV scene.

It's apparent from the movie that Arthur loves paradoxes. And maybe that's because he is sort of a paradox himself, he's full of little contradictions and I doubt he even realizes it most of the time (but Eames does and it's what made the pointman so interesting at the beginning).

Arthur is analytical and meticulous, he likes precision and details, and makes plans and contingencies; and yet he is so skillful at improvising, and even enjoys it in a way, outsmarting sudden unexpected problems, at least when they're not risking Limbo (so much for having no imagination). But even more interesting is how he presents himself to others as calm and detached and yet he cares so much just about everything.

And more interestingly, while his emotions are always clearly visible on his face (thank you JGL for your expressive afce), he keeps himself on a tight leash, rarely allowing himself to actually act upon it, at least not without passing through some kind of filter of rationality first. That is, unless they're in the direst situations with adrenaline and stress running high.

And unless the person at the other end of the exchange is Eames. Because Arthur too acts different than usual around him.

Arthur, who is always so poised and collected, or at least strives to be, allows himself to engage in the banter Eames initiate, and to just react instinctively to his jabs. And even if most of the time that reaction is based in mild annoyance and competitiveness, it still feels like friendship and trust. Because for once Arthur is letting himself really feel and inhabit it his emotions, something he does with no one else. And then shit hits the fan and we really see just how much Arthur really cares for Eames when he flips in the taxi scene and when he helps him with the PASIV just to exchange a few soft reassuring words that may or may not be their last ones to each other; and how much he relies on Eames, even subconsciously, when he relaxes after the darling comment.

He feels safe enough with Eames to lower his guard and loosen himself up, to show even the most imperfect, less polished, 'ugliest' side of himself, sure in the knowledge Eames doesn't really see him as just a pointman or a mentor or whatever, but as a person and a friend. And it's liberating.

in the rain car chase, the three second “ARE YOU OKAYYY” “yeah yeah I’m okay” gets me every time like the interaction makes it sound like it comes naturally to them,

so what if, the first time, apart from the begrudging mutual respect for each other’s work and silently giving a break to snarks and teases to actually get the job done, the first time they sort of came together (eh, not THAT time) was when during actual-real-life-job-gone-tits-up-shootout? like they covered each other’s sixes without even thinking like, this uncensored sense of protect him creeping up and encompassing them a whole and rest of the world fading away, catching them completely by surprise. they couldn’t regroup afterwards and they had to think and rethink what was that made them lookout for that insufferable forger or that neurotic pointman and being unable to put a name to it.

and the next time they meet, it’s all forgotten, except when someone closes a door a little too harsh and they both catch themselves looking at each other before quickly glancing away. eames involuntarily inching towards arthur when he volunteers to be toppled down from a chair to test somnacin. Arthur almost desperately screaming “watch out!!” when a nasty mark aims a gun towards eames, before remembering it’s a dream.

both of them trying to figure out this unexplainable pull towards each other when the other person is in danger. the one who gets your blood pressure up and drives you mad is the same one who is making your heart skip a beat.

It’s troublesome it’s worrying it’s difficult and it’s annoying.

it’s terrifying.

Finally framed this. After like. A year, idk.

And the back for fellow voyeurs:

Cobb: “you?” Arthur: “Stateside.” Cobb: “Send my regards.”

Nolan, probably: this counts as character development. We are implying Arthur has someone waiting for him there. No, we will not elaborate

Trivia for Inception (2010) dir. Christopher Nolan

my favourite part about this scene is that there is absolutely no need for arthur to connect eames to the pasiv for him, eames has presumably worked in dream share for years and could probably do it with his eyes closed, meanwhile arthur has let ariadne who has zero experience do it herself so he can kneel over and flirt with his rival/friend/husband/ex

Scrumptious. Sorry I’m not sorry!

eames is NOT concentrating on what arthur has to say

Arthur when Eames sends a kissing emoji:

Eames when Arthur sends a kissing emoji: