FAVORITE FILM NUMBER SEVEN: The Matrix (1999)
Sometimes I wonder how quickly our society would collapse if all of the computer technology we created were to one day suddenly fail. It seems like a silly notion, but given how extraordinarily dependent we are on the seemingly infinite number of zero-and-one arrangements, microchips, and algorithms that constitute most of our utilitarian lives, I think it is safe to say that we are "slaves to a machine." While many people may be skeptical about the particular issue that I just articulated, though, the Wachowski brothers (Andy and Lana) brilliantly explore it in their science-fiction/action-adventure cult classic, The Matrix (1999).
The film, deeply embedded in ancient philosophical inquiry and religious symbolism, is the story of Thomas Anderson (Keanu Reeves), later given the alias "Neo," a listless office worker by day and computer hacker by night who is troubled by cryptic messages that continually reappear on his computer screen. Consistently uncertain about his state of consciousness, Thomas/Neo soon realizes that he is being pursued by three sinister, impersonal men who all wear neatly-pressed coat-and-tie outfits, sunglasses, and earplugs. Agent Smith (Hugo Weaving), the leader of these men, wants Neo to work for him and capture Morpheus (Laurence Fishburne), a supposed "terrorist" who, along with Trinity (Carrie-Anne Moss) and a ragtag group of other disparate individuals, wants Neo--whom they consider the "One"-- to join them in their fight against the "Matrix" (the subject of the messages that have been plaguing Neo's computer). Unplugged and released from a gooey, gelatin-filled pod, Neo is brought aboard Morpheus' ship, the Nebuchadnezzar, introduced to other crew members, including Trinity, Cypher (Joe Pantoliano), Apoc (Julian Arahanga), Dozer (Anthony Ray Parker), Tank (Marcus Chong), Mouse (Matt Doran), and Switch (Belinda McClory), and taught by Morpheus the various truths of the "Matrix." Morpheus explains that it is actually the year 2199 (instead of 1999), computers took over the world at the dawn of the 21st century, and that, in addition to growing human beings and using them for battery fuel, the Matrix has attempted to placate every person by plugging them into a virtual cyber world in which everything seems sensually real. Although Neo is initially frightened and skeptical, he soon must come to terms with reality and, under the guidance of Morpheus, Trinity, and the "Oracle" (Gloria Foster), a sentient computer program that resides in the Matrix and feeds "freed" humans foresight and wisdom, determine whether or not he's the "One" who will lead human beings to freedom.
Immediately, this movie probably brings to mind several powerful ideas that have permeated Western thought: 17th century French philosopher Rene Descartes' revolutionary discovery, "Cogito Ergo Sum" ("I Think, Therefore I Am"), which can now be found emblazoned across any billboard or coffee mug, and the system of rationalism (or the belief that our senses may be deceiving us and that our minds are the only things we can trust) that it is based on, Plato's Allegory of the Cave, the "brain in the vat" theory, Lewis Carroll's Alice In Wonderland, and the biblical story of Jesus Christ. However, The Matrix, which closely resembles other films that have also dealt with the theme of false realities and/or artificial intelligence (including, but not limited to: Blade Runner, Logan's Run, The Island, and Inception), addresses other philosophical ideas as well. In Meditations, Descartes, who averred that his test for knowledge would be done when what he knew he knew with "clarity and distinction," posed several other skeptical claims: his dreams could be copies of something real, whether or not he's dreaming, he is certain about simple, mathematical truths, God could be deceiving him about simple mathematical truths, and an evil demon/genius (instead of God) could be intentionally screwing with his senses. In regards to the latter, The Matrix (as it is monitored and protected by Smith and other Agents) is the "evil demon/genius" sent to destroy anyone who becomes aware of it. Similarly, what we might not know about Plato's Allegory of the Cave is that it doesn't simply detail that someone who climbs out of the darkness and into the bright light of the sun will be saved. It also details that when the person who climbs out of the cave climbs back into it and warns others, that person will be laughed at, met with disbelief, and then murdered. If this sounds familiar, it should. Any time you've ever heard the story of a martyred saint (Joan of Arc, for instance) or a person who felt uneasy when they saw a "crazy" homeless man with a sandwich board over his chest that read "The End Is Near," you were probably hearing a representation of that portion of Plato's Allegory, and in The Matrix, there is one moment that alludes to it as well. While training Neo to "free his mind" and defy certain laws of physics (i.e. leap across skyscrapers and avoid moving bullets), Morpheus explains that most human beings aren't capable of being "unplugged" because they've been part of the Matrix for too long and could never be convinced that anything outside of it exists. Moreover, there is even one character who trades in his freedom for the ignorant bliss of the Matrix.
What The Matrix is probably best known for, though (besides its philosophy and religious symbolism), is its revolutionary new style of action film choreography and cinematography. Paying homage explicitly and implicitly to Hong Kong martial arts pics, spaghetti westerns, and Japanese Anime films, The Matrix takes science-fiction explosions, gunfire, and hand-to-hand combat to a whole new level. What's introduced in The Matrix is "bullet-time" action. In other words, the camera can slow down and speed up, freeze, zoom in on and spin around certain characters, and it can even follow the path of a moving bullet in full focus. While this technique has been copycatted in many movies (including 300, Watchmen, Wanted, and V For Vendetta) since The Matrix, The Matrix was the one that set the standard for such impressive choreography and cinematography, and several scenes represent that. During one sequence (which, unfortunately, inspired the infamous Columbine shootings that occurred in April of 1999), Neo and Trinity storm a heavily-guarded building while dressed in trench coats. Stopped by an officer at a metal detector station and asked to "remove all metallic items," the two reveal their weapons and then, within a matter of moments, tear the entire columnated lobby into shreds. Considered by many to be the greatest action scene in film history, it is without a doubt one of the most remarkably well-executed works of choreography I've ever scene. The visual technique of "time-slicing," which allows the viewer to explore the progression of gunfire and the destruction of the scenery in slow-motion (while the camera appears to orbit around at normal speed), is utilized perfectly, and by the time Neo and Trinity are finished emptying out the lobby, they walk away cool and collected, like nothing ever happened. A few other important, visually-striking sequences worth noting include one in which a character bends backwards as bullets gracefully zip past him and another in which that same character leaps above a train (which is about to hit him) just in time.
Why is The Matrix such a praise-worthy film? Because incites us to confront the issue of technological advancement and artificial intelligence? Possibly. More so, however, The Matrix is a praiseworthy film because it not only broaches the most profound, philosophical questions in human history, but it also does so with a stylistic, revolutionarily-choreographed BANG! If Plato and Rene Descartes could, I'm sure they would immediately leave their acropolis and fireplace (respectively), unplug themselves, join the Nebuchadnezzar, and "free their minds."
No comments:
Post a Comment