The 20th anniversary of the Matrix’s release, I revisited the 4K version (including tidbits) at home, and the following ideas have yet to be sorted out: The core idea is simulation, and the source of thought may be Plato’s analogy of cavemen-Descartes' dualism of mind and body-Putt South’s Brain in the Tank-Baudrillard’s simulacra, which combines dystopia and KK’s machine civilization (evolution) view. Simply put, it replaces Descartes’s devil or utopian designer with AI with specific motives (As mentioned in the tidbit, the Wachowski brothers asked Keanu Reeves to read 3 books before reading the script, including Baudrillard’s Simulacra and Simulation, KK’s "Out of Control" and Evolutionary Psychology). In the framework of the trilogy, the core question actually shifts from "What is reality (existence), if everything that is perceived can be simulated?", and shifts to "What is the purpose of Matrix's existence?" Will mention), which again involves reflection on the existence of intelligent civilization (Smith and Neo have repeatedly asked Why/What for), which requires us to jump out of the human-based vision, because the "intelligent subject" is not limited to humans, in fact, The second and third parts present a meaning of "machine civilization" equal rights. A noteworthy phenomenon is that there are a variety of procedural intelligences in Matrix, from the most advanced The Architect and Oracle to Key Maker, Seraph, and Sati. , French couples, etc., they are not only identical in appearance to the human category, they can also understand the meaning/purpose of different levels, and even more uncertain emotions (the line says that love and hate are just words, and the meaning behind it is important) , And ironically, in the so-called "real world", only the electronic octopus (a low-level, unconscious machine) with its teeth and claws appearing without soul. This tension, as well as the image after the restart of Matirx at the end, seems to imply that the future of intelligent civilization lies in the machine/program/silicon-based which has absorbed all human intelligent resources (algorithms). As a result of the human-machine war and agreement, human Biological existence is still preserved, but Zion is not so much a liberated area as a shelter, or a nature reserve is more suitable. In terms of mental creativity, or "making history," the supreme status of the human spirit has been Was washed clean, just like The Architect complained, what do you think I am, human? This is how the machine-based people are different from the beasts. At the story level, the Wachowski brothers cleverly applied biblical imagery familiar to Western audiences, such as the prophet, the savior, the righteous, the holy city, and the creator. Belief has exceeded the level of realistic rationality, so that it has risen to a kind of faith. The whole story can also be regarded as the myth of salvation/Messiah retelled with high technology, except for Neo and The intertext of The One, other names and plots, such as betrayal, sacrifice, test, and rebirth, also more or less have the shadow of the Bible, but this kind of religious reference should not be expanded, because religion itself embodies A certain kind of mythological archetype, which reminds me of a myth-epic theory, that is, human epic myths all have archetype plots that heroes return after overcoming difficulties. This may be a general pattern of "story", which is more traditional in narration. The second and third part of The The One program returns to the core of the machine city, the so-called beginning and end). BTW, the text of the film was also obviously influenced by Alice's Adventures in Wonderland and Allan Poe. The aesthetic characteristics of the Wachowski Brothers in the film are mainly comic strips and Hong Kong film actions. For example, repeated emphasis on mirror images in sunglasses is a metaphor for virtuality and a reference to the choice of red and blue pills. As for bullet time The 360-degree circle shooting is to zoom in on the space-time continuum and the details of the picture at the same time, so that there is a stage effect that ignores the physical environment. This can be regarded as a comic-style image thinking, and the action is an oriental martial arts/kung fu movie. Copying as it is (Yuan Heping action director), the integration of the two with the Hollywood industry has brought about a revolution in action scene film technology. This has been repeatedly praised and is included in film history, but it may not be enough no matter how praised it is. To restore the shock of the time we saw the bullet for the first time, even viewers with full movie-watching experience may be as surprised as the agents in the film. Can they do this? Yes, not only can it, but also can do it again. The scenes such as highway chasing in the second or third part, fighting in the park, flying at high speed, and single-handedly in the rain, all expand the possibilities of the audiovisual language of the movie with an exaggerated spectacle. , I am afraid that the influence of its subsequent genres is unparalleled. In the tidbits, it was mentioned that the Wachowski brothers are fans of comics and Hong Kong films. In the process of preparing the film, they drew the main scenes of each scene. Sometimes this kind of shots destroyed the coherence of editing. There is obvious axis jumping (for example, Neo jumps directly to Murphys after touching the mirror), but under the (not yet perfect) simulacrum setting of Matrix, this kind of distortion is just like the aforementioned sense of stage. Converges in the logic derived from the core concept of simulation, and the wonder of superpower is the sublation of the material world and its physical laws, representing the manipulation of the simulacrum by others outside the simulacrum (outside the three realms, not in the five elements), It is not difficult to find that this is in the same line as the logic of superhero comics. Even the use of "what's the matter with tm" is the exaggerated color of comics. But from a deeper level, for movies, this kind of comic thinking is a subversion of image thinking, which is reflected in the inconsistency of viewpoints. For example, Neo's "code filter" viewpoint lens after blindness actually appeared. For the “follow shooting” of oneself, the lens did not give the audience a coherent angle. This is because the comics emphasized the storytelling, but did not intend to show the continuity and extensibility of time. This is why Trinity appeared again 4 years later. On the big screen, people will feel how she has grown so much-the story of the movie does not give people time 0) To some extent, the trilogy as a whole presents a state of destiny, no life, a world, no nature, a myth, and no history. I think this is also a challenge to the concept of humanity. It should be pointed out that in the second and third installments, because the plot development space is concentrated on Zion-Machine City and Matrix (this kind of "centralization" may be slightly outdated), doubts about "reality" are no longer the focus, "people" "War of Machines" has become story A, and "what does The One mean" become story B. The film has also evolved from a piercing of the familiar world concept to a preservation of the existing world concept. This may be the trilogy of the trilogy. Become more conservative, more dependent on traditional narrative routines, and more mediocre. Of course, you can’t ignore the high conceptual nature of the film, from the idea to the vision. For example, the emerald green tone in Matrix. Now everyone understands that it is the meaning of the code. In reality, everyone’s clothes are relatively low-key and run-down, expressing a kind of exile. (Interestingly, whether it’s a spacecraft or Zion, its technical presentation is primitive or even brutal, which is also a symbolic suggestion), as well as the spacecraft’s steampunk-style facilities, the horrible sight of the human battery column, and the sunglasses and windbreaker. The service-oriented, all have gone through a specific and sufficient design, which visually strengthens the difference between Matrix and Reality, and also brings a highly cool and fanciful style. Of course, this concept comes from Blade Runner and The influence of classic works such as Ghost in the Shell, as well as Jeff Dello’s art design (the dark tentacles full of the taste of the B-level film), but after 20 years, the conceptual design of this film is just like its Audiovisual language is not only epoch-making, but it can also be said that it has surpassed the era to become a cultural totem (this is another topic). In short, the classic of The Matrix is that it creates what David Sid calls "flow of types". It is appropriate in terms of business, ideology, and aesthetics. It is the authorship of the director in the Hollywood industrial system. After a beautiful blooming, it is really difficult to find works that can be viewed equally on the three.
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