In 1999, our society thought the world as we knew it would end. Moving into another century, freaked and panicked most ordinary people who didn’t have a clue about computer coding or AI. I was not one of the frightened. I just knew in my gut that computers were evolving faster than ever, and everyone should be prepared for an ever-expanding techno world. There really wasn’t a choice. It was just a matter of time before iPads, IPhones, PlayStation, and laptops to multiply in everyone’s home. The question and debate about man vs. machine were daily topics as the year 2000 loomed closer and closer.
Films usually project what the masses are feeling at any given moment. Science fiction was pretty popular at the turn of the century. Creative juices were flowing. The range was wide, from THE RELIC, JUDGEMENT DAY, and MUPPETS IN SPACE. I had a favorite, though, that was intellectually stimulating and great fun to watch. It was a movie that would capture the minds and hearts of our planet, go on to gross close to half a billion dollars worldwide, and win four Oscars for Sound Effects, Visual Effects, Best Sound, and Best Film Editing (It was nominated for Best Picture, but lost to GLADIATOR). Of course, I am remembering THE MATRIX. “Sooner or later, it is more important to know the difference between knowing the path and walking the path. THE MATRIX was control. How else would you know the difference between the dream world and the real world?”
THE MATRIX was the dream child of Lana and Lilly Wachowski(CLOUD NINE, JUPITER ASCENDING). They wrote and directed THE MATRIX. They insisted that Keanu Reeves (Neo), Lawrence Fishburne (Morpheus), Carrie-Anne Moss (Trinity), and Hugo Weaving (Agent Smith) go through intensive martial arts training for four months before filming. Because of the Wachowskis’ extraordinary vision, audiences were filled with wondrous special effects that are both mind-numbing and iconic. THE MATRIX was the first in an enormously successful franchise that would follow for years to come. So many action thrillers rest upon the shoulders of this ingenious duo.
Many accidents and injuries rearranged how scenes would be scheduled on camera. In Moss’s first scene, she twisted her ankle and didn’t let anyone know for fear she would be fired. Reeves was just coming off back and neck surgery, so at first, he was not allowed to high-kick until halfway through filming the movie. There was much to learn, including how to perform the dangerous wire jumps. For 1999, this type of stunt work was fairly new and had to be tightly choreographed. In the end, Moss was the only one who did all her own stunts.
THE MATRIX sent a powerful explosion to everyday wear among people of all ages. Sunglasses were a must. Some tried to wear the type Morpheus wore, with no side stems to attach to their heads. I can’t tell you how many pairs I would find broken on the school campus where I taught. Those were tough to pull off. The long, black leather trench coats were everywhere, even in the blazing heat of Arizona summers. It was definitely a sign of the times where fashion was dictated by what was worn on screen. Luckily for the actors, those coats were not leather or made from a heavy material. This was brilliantly pulled off by the costume department, trying to save a buck here and there.
Fishburne loved portraying Morpheus. He thought he was a cross between Darth Vader’s darkness and Yoda’s wisdom. Weaving also had a ball as the antagonist character. He pulled whatever he could out of the pure evilness of the keepers of THE MATRIX secrets. He deliberately used a choppy, slower pace to appear more machine-made and menacing. It worked. It was both foreboding and annoying.
Neo was brought to life by Reeves. His facial expressions gave audiences vivid visual cues of doubt and confusion, especially when he had to walk, run, or jump across crowded city streets, alleyways, fire escapes, and rooftops. His physicality reflected both sides of the coin, especially in the end, when he finally believed in who he was. No Oracle-created cookie could make all the action scenes any better. The gentle “com-on” gesture at the beginning of each fight sequence was subtle, assured, and brimming with chutzpah. I secretly wished all bloody fight scenes could be resolved as simply as by falling bullets and bad-guy explosions.
THE MATRIX showcased the proverbial question of which pill you would choose to take, knowing one leads to the status quo and the other brings clarity, while falling down a bumpy rabbit hole. I have watched this movie many times, and the question is inevitable. Blue or red? Would I hesitate? Would I walk through the door of my own free will?
I know what I would do, and that’s what makes this celluloid Sci-fi classic so magical and memorable. “No one can be told what THE MATRIX is. You have to be shown.” Thank you, Lilly and Lana. I do believe the prophecy is real and “HE” walks among us.
THE MATRIX is available to rent.
