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Ian Noble Ronald Gregg 20 February 2023 Blockbuster Cinema Red or Blue, Reality or Ruse, How Do We Know What Is True? In the era of blockbuster franchise films, few redefine the boundaries of their genre. Written and directed by the Wachowski sisters, The Matrix series pioneers new elements of CGI to captivate audiences with their thrilling action sequences while engaging with them on deeper philosophical levels. The Matrix âs success stems from its ability to push viewers to question the fabric of reality and the illusions that govern the perception of our existence. Over time, the franchise expanded its audience by producing The Animatrix , a series of animated short films that contextualize the complex narrative of The Matrix while reaching an international audience that favors anime over film. However, while The Matrix film in 1999 cultivated a diehard fan base due to its mind-bending originality, critics felt the sequels exaggerated the philosophical metaphors that were once revered to sell box office tickets. Although The Matrix series serves as an innovative landmark in franchise films with its CGI and thematic exploration of the human existence, the series withers in the later films due to its over-saturated action sequences and metaphors, leaving a stain on the seriesâ success. Overall, The Matrix pioneers a transition for the science fiction genre into adopting more philosophical undertones. The series infuses modern societal applications with postmodern thought. For example, in the original The Matrix (March 31, 1999), the protagonist Keanu Reevesâs character Neo stores a computer disk storing the illegal replication of software between two pages of Simulacra and Simulation , by Jean Baudrillard. However, this example of
intertextuality is no accident as Baudrillardâs main philosophy centers around the idea that âThe simulacrum is never that which conceals the truthâit is the truth which conceals that there is none. The simulacrum is trueâ (Baudrillard). Therefore the underlying theme in The Matrix conveys that reality serves as a simulacrum (or simulation) where no reality is true. While Keanu Reevesâs character Neoâs computer disk is a replication of data that appears to be original, this alludes to the subsequent postmodern debate that it may be impossible for humanity to know whether their reality is truly accurate or an illusion. Laurence Fishburnâs character Morpheus echoes this debate when he asks Neo, âHave you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream? How would you know the difference between the dream world and the real world?â (Godawa). As a result, The Matrix series as a whole serves as a philosophical toy because of the red pill blue pill dilemma that Neo faces that will either show him the falseness of his reality (by taking the red pill) or allow him to live his normal life (by taking the blue pill). Building on this, Godawa illuminates the parallels between The Matrix series and Nietzcheâs philosophy through the quote âTo be truthful means using the customary metaphor â in moral terms: the obligation to lie according to a fixed convention, to lie herd-like in a style obligatory for allâ (Godawa). Through the stark contrast between realities in The Matrix , the film evidently expresses how the âtruthfulnessâ in society is often an established set of metaphors that creates an individualâs âobligation to lieâ to themselves in order to maintain their existence. The franchise builds off this, with each film touching on another aspect of Nietzcheâs philosophy in particular. The first film conveys the idea that âour perceptions of reality are illusory (the theme in The Matrix) because they are part of the mechanistic determinism of nature (the theme in The Matrix: Reloaded) and [that as a result society] must create our own ânew truthâ through our human choices and beliefs (the theme in
(McCarthy). While some may consider the film's action sequences to be visual excess, the Wachowki's recognized technologyâs increasing importance in film. The visual effects supervisor for the Matrix trilogy John Gaeta supported this by highlighting âVisual effects has to invent and innovate at a blistering speed [...] I don't think there can be anything cooler in 2003 than gigantic robot wars done in the most extremely detailed photorealistic wildnessâ (Robertson). While the Wachowskiâs used visual excess to their advantage in the Matrix series, they further expanded their innovative mindsets to a different medium. While the Wachowski sisters are associated with everything involving the franchise, in an effort to target a new audience and in cohorts with their deep affection for anime birthed T he Animatrix TV series. The Wachowskiâs delved into animation to explain the backstory of the original Matrix film to reach a new (and potentially international) audience that favors anime to film. However, their decision to turn to anime to portray the beginnings of The Matrix not only sought an international audience but also âeffectively [paid] tribute to a beloved style of animation without which The Matrix may not have existedâ (Goldberg). Many saw Wachoswkiâs willingness to let the worldâs top anime artists (including Mahiro Maeda, Shinichiro Watanabe, Koji Morimoto, and Yoshiaki Kawajiri) to collaborate on The Animatrix showcase their respect for the anime genre that many consider pioneered the philosophical themes of questioning reality long before The Matrix in 1999. Further, while many filmgoers appreciated The Matrix series in its originality upon its release in 1999, the action sequences, visuals, plot, and philosophical notions of the film were generally met with confusion among viewers. As a result, The Animatrix unpacks the complex narrative of the initial Matrix movie in 1999 to make it simpler for audiences. For example, the episodes âThe Second Renaissance Part Oneâ and âThe Second Renaissance Part Twoâ contextualize the first Matrix film with an extensive prequel regarding
the machines usurping humanityâs control over the world. Building on the philosophical notion of humanity being too dependent on technology, the Wachowskiâs expanded their real-world application in The Animatrix prequels, citing the famous court case Dred Scott vs Sanford in regards to a robot that killed its owner in self-defense. By showcasing how the debate over rights for machines destroys society, The Animatrix series connects the franchise to everyday struggles regarding free will and faith in an increasingly technological world. As a result of this, critics praised The Animatrix as âan unsung gem regarding visual ingenuity, thematic exploration, and expansive world-building [...] [while being a] fitting tribute to Japanese animation in providing a deserving platform to some of the artists who had a hand in inspiring its source materialâ (Goldberg). Although The Animatrix was revered for its creativity and homage to Japanese animation artists, The Matrix Reloaded (May 15, 2003) , The Matrix Revolutions (November 5,
- , and The Matrix Resurrections (December 22, 2021) had certain mixed sentiments among critics. While the initial 1999 film was glorified by fans for its grounded philosophical undertones, stunning visuals, and rollercoaster action sequences, â The Matrix Reloaded left many fans feeling puzzled and disconnected from the magic of the first film, while The Matrix Revolutions was largely considered an anti-climactic letdown, and The Matrix Resurrections polarized with its rehashing of familiar beats and metafictional sensibilitiesâ (Goldberg). While The Matrix Reloaded and The Matrix Revolutions films were box office smashes (741.8 and 427.3 million) and certainly possess the familiar glorious action sequences viewers love, many critics believe the sequelsâ success is reliant on their loyal fans' obsession with the franchise's originality. The philosophical undertones of The Matrix resonate powerfully with individuals who feel they arenât properly represented. As a result, these themes transcend generations
(159.2 million grossed against a 190 million dollar budget) and was potentially a delayed reaction to the franchiseâs deviation from its true nature. Although there are certainly some elements that justify the creation of the trilogy plus the Animatrix series, critics saw The Matrix Resurrections as a clear-cut money grab. For example, Neoâs sacrifice of himself at the end of The Matrix Revolutions was a natural conclusion to the franchiseâwith Neo fulfilling his Jesus Christ-like savior arc that settled the franchiseâs respective philosophical themes. Therefore, The Matrix Resurrections âlazily resets everything to the status quo [as] [...] the machines have started another war and the Matrix has been reactivatedâ (Pitman). The Matrix series undeniably left a stamp on the film industry with a unique combination of adrenaline-filled sequences and a deep philosophical impact. By integrating concepts from renowned philosophers such as Jean Baudrillard and Friedrich Nietzche as the backbone of the film, The Matrix franchise transcended traditional boundaries of the science fiction genre to connect with a diverse array of audiences. Although The Matrix series employed groundbreaking visual effects that showcased innovative stunts, over time the franchise oversaturated audiences with visuals and abandoned a sensible storyline. While The Matrix âs popularity spanned to an international audience with the incorporation of anime into the franchise, the film's later installments, especially The Matrix Resurrections in 2021 were believed to abandon the standards they once set in 1999 for financial gain. Overall The Matrix paved the way for a new sense of science fiction and cemented itself as a cultural phenomenon that challenges viewers to confront their understanding of the world.
Works Cited âThe Animatrix.â IMDb , IMDb.com, www.imdb.com/title/tt0328832/fullcredits?ref_=tt_ov_st_sm. Accessed 15 Feb. 2024. Baudrillard, Jean. âSimulacra and Simulation 1995 University of Michigan Press.â Internet Archive , 27 July 2003, archive.org/details/simulacra-and-simulation-1995-university-of-michigan-press/page/n5/ mode/2up. Bedingfield, Will. âMartin Scorsese Thinks Marvel Movies Are Garbage. Is He Right?â WIRED UK , WIRED UK, 24 Oct. 2019, www.wired.co.uk/article/are-marvel-movies-good. Bolton, University of. âHow the Matrix Movie Changed Film Forever.â University of Bolton , University of Bolton, www.bolton.ac.uk/blogs/how-the-matrix-movie-changed-film-forever. Accessed 20 Feb.
Bradshaw , Peter. âThe Matrix Reloaded.â The Guardian , Guardian News and Media, 23 May 2003, www.theguardian.com/culture/2003/may/23/artsfeatures.dvdreviews. Godawa, Brian. âThe Matrix: Unloaded Revelations.â Christian Research Institute , 9 Aug. 2023, www.equip.org/articles/the-matrix-unloaded-revelations/. Goldberg, Reid. âThe Best âmatrixâ Story Didnât Take Place in the Movies.â Collider , 10 Sept. 2023, collider.com/best-matrix-story-animatrix/.
Tallerico, Brian. âThere Is No Spoon: Watching The Matrix Trilogy in 2018: TV/Streaming: Roger Ebert.â TV/Streaming | Roger Ebert , www.rogerebert.com/streaming/there-is-no-spoon-watching-the-matrix-trilogy-in-2018. Accessed 19 Feb. 2024.
