It's been thirteen years since The Matrix was released in theaters, which, while not that long ago, is enough to remind that some of us were nine years old when it came out...
Of course, there's no reason not to celebrate it's thirteen year anniversary, which comes up March 31st.
Of course, there's no reason not to celebrate it's thirteen year anniversary, which comes up March 31st.
Having finished up the series (again) in February, I've been highly impressed with the original movie from a script and story point of view. The sequels, which I don't believe are as horrendous as others proclaim, do suffer technical faults that don't necessarily stem from bad writing. The Wachowski's didn't luck out with The Matrix: it's an excellent film because they're great writers. The mythology explored in Reloaded and Revolutions is much more intricate than in the original and so balancing all those characters, themes, and plot points becomes infinitely more difficult.
To understand those difficulties, first one must understand why The Matrix works.
(N.B. #1 These section names are pulled straight from the chapter titles on the DVD, which I feel do a good job of condensing the scenes.)
(N.B. #2 One cannot be told why The Matrix works, one must see it for themselves. So pop in a DVD and/or VHS and follow along!)
Act One
1. Trinity in a jam - Trinity and Cypher talk about Neo before the line is traced; cops attempt to arrest Trinity as Agent Smith and others arrive
My former screenwriting teacher, Mark Dickerman, spoke of the opening attack in a screenplay. It's the introduction to the world, to the characters, and it bears a lot of weight: if it's not up to par, theater goers will walk out. Suffice to say, the Wachowski's are quite adept at picking an excellent point of attack - one that is, literally, an attack.
What makes the opening scene of The Matrix stand out is not because it's action-packed but because it sets up so much in just three minutes. The opening dialogue, over a black screen peppered with green numbers, is intriguing. Who are these people? Whom are they speaking of? Who traced the call? If this is a movie about computers, then it's apt for it to open with numbers that lead us into the rest of the world.
The fight scene between Trinity and the cops establishes three pieces of information: this is quite the physically strong woman; there's something off about this world; leather is fashionable. The first is important because it's simple yet effective characterization. The second is evident with Trinity's signature flying kick and when she run across the wall. This characterizes the world and clues the audience in that this world isn't quite right. Not to mention, it's the introduction of bullet-time. The final piece, Trinity's clothing, appears inconsequential but it's further world-building. Nearly every character in this film wears badass leather garbs while jacked in, serving as the distinct uniforms of the counter-culture redpills. It's the cyberpunk influence as a visual statement.
Outside the hotel, we're introduced to big, bad Agent Smith. With regard to Trinity, this shows she is someone important because the feds - or those dressed up like the feds - don't just go after any criminal. If the cavalry has been called in, she must pose a serious threat. With regard to Smith, he and his pals' copy-pasted look - suits, glasses, ear pieces, high foreheads, etc. - gives them an uncanny feeling; there's something wrong with these men.
"No, lieutenant, your men are already dead."
2. Impossible pursuit - Trinity talks to Morpheus before fleeing over the rooftops; an Agent pursues her and she narrowly escapes the Matrix before a truck barrels into her phone booth
This sequence ups the adrenaline and further proves that holy shit there's something wrong with this world. The key moment is when Trinity and Agent Brown jump over a wide gap between two buildings, bewildering a bluepill officer. Interestingly enough, after Agent Brown makes the jump, the music reaches a crescendo and then stops. This minor musical arc fits perfectly because the same pause exists in the action as the audience has to consider what they just saw. The following dive by Trinity into a small, yellow window is all kinds of crazy and lets the directors use their patented bullet-time yet again.
And now we come to the phone booth. As Trinity runs toward a ringing payphone (in today's world, finding an exit would be so much more difficult), a passing dumpster truck screeches as it turns around and plays chicken with her. There's mystery here as the first question that springs to mind is: why the hell was Agent Smith in the truck? The next question is, where did Trinity go? As the truck pulls back, all we see is the wreckage of a wall and phone but there's no body in sight. Just what the hell is going on here?
This buildup is a continuation of the opening attack, further drawing the audience in with questions they're going to want answered. Of course, one must eventually answer said questions.
We entered the world through phone numbers and now we exit through a phone as the camera zooms into the mouth piece and finally takes us to our protagonist.
"That's impossible."
3. Follow instructions - Neo receives a message on his computer, makes a business transaction, and accepts a party invitation
Solitude is Neo's life: he lives inside a cramped apartment, dusty technology in every nook and cranny, and his computer searches for files related to a supposed terrorist named Morpheus. And now his computer directly addresses him: "Wake up, Neo. The Matrix has you."
If the opening two chapters introduced us to the physical world of the Matrix, in this one the Wachowski's introduce the philosophy. Between Neo's apartment number (101), Simulacra and Simulation, and the white rabbit tattoo on Dujour's shoulder, we're shown this will be a smarter movie than your typical action blockbuster.
Sparse dialogue and subtle visual allusions make this scene. Simulacra and Simulation and Alice in Wonderland appear worlds apart, but together they serve as key frameworks to understanding the entirety of The Matrix. It helps that the Wachowski's apparently had all principal cast and crew read the former if they were going to work on this film.
"It just sounds to me like you might need to unplug, man."
4. The question - Neo goes clubbing and meets Trinity, who tells him the truth is out there
Now we come to the inciting incident, and the timing fits: it occurs ten minutes into the movie. But numbers aren't enough to say Q.E.D. You can tell this is a pivotal scene because Trinity finally makes contact with Neo and tells him she knows why he's up all night, who he's searching for. She eggs him on so he can finally start the journey.
This, of course, is the call to power Campbell spoke of.
On a minor note, when Trinity gives her name to Neo, he remarks that he always thought she was a he. Trinity's response ("Most guys do.") is very apropos in a meta kind of way. Consider most blockbuster sci-fi action movies which don't have female protagonists who can kick butt-loads of ass. While The Matrix doesn't have a female protagonist, it does show that women are just as deadly through Trinity. Neo's comment is a self-referential remark on the opening sequence where Trinity drops a group of police officer, reminding viewers this will be a different sort of movie.
If you don't care about the monomyth, then care about the leather: it's the central aesthetic in this scene, which continues to characterize the cyberpunk influence of the movie. I may be harping on this point a bit much, but the fashion force is strong with this series.
"The answer is out there, Neo."
5. "They're coming for you." - Neo's late to work, attempts to evade the Agents with Morpheus' help, but just can't do it
"You have a problem with authority, Mr. Anderson. You believe that you are special, that somehow the rules do not apply to you. Obviously, you are mistaken. This company is one of the top software companies in the world because every single employee understands that they are part of the whole. Thus, if an employee has a problem, the company has a problem. The time has come to make a choice, Mr. Anderson: either you choose to be at your desk on time from this day forth, or you choose to find yourself another job."
Here's a lesson in foreshadowing. This entire little spiel by Neo's boss (Rhineheart) encapsulates the entirety of The Matrix on numerous levels: it describes the plot, the way the Matrix itself works, and presents Neo with an ultimatum not dissimilar to the one Morpheus will present him with soon enough.
When I watched this scene, I was distracted by the window-washers, as was Neo. Why were they there? Is it symbolism, a metaphor? Perhaps, by cleaning the windows and providing a cleaner view to the outside world, they parallel Neo's journey. Now that I think about it, the window-washers are a red herring. They're distracting the audience because they're distracting Neo: it's Rhineheart's speech that's at the center of the scene. Minor details like this speak volumes.
(minor research indicates the washers are supposed to be the Wachowski's in a cameo, though others suggest it's an indication of a glitch in the matrix or digital rain or any number of theories)
This is why the sequence in which Neo scurries through the halls, hoping to escape, is just an action set piece. It does, of course, have thematic importance because at the end Neo shows he's still too afraid to trust Morpheus, to "free his mind." But always look for - and write for - the deeper meaning.
Script notes: in the 1996 draft, when Neo returns to his cubicle, a co-worker jokes to him about getting fired. In the final cut, this man does not exist. This is a perfect example of less is more, of realizing there's no reason to create a nameless character who adds little to the plot or atmosphere. In addition, it's one less casting choice and salary producers have to worry about. Never be afraid to cut.
"I can't do this."
6. Unable to speak - Smith interrogates Neo, offers him a free pass if he helps turn in Morpheus, which Neo refuses
Protagonist, meet antagonist. Poor Smith wishes he'd have put a bullet in Neo at this point.
If the previous scene is the refusal of the call (Neo, after all, chooses to go into the hands of the agents rather than escape through the platform), then this is the repercussion of that choice. And the notion of choice is a repeating motif throughout the movie; Smith's offer is like Rhineheart's.
The bug is another instance of the curtain being pulled back, revealing the true nature of the world. But Neo and the audience aren't ready to be shown the truth, hence the decision to make Neo wake up from a nightmare immediately after. Was the bug real or not? Time will tell.
With the monomyth in mind, I've noticed a parallel with Star Wars. Darth Vader at first pursues R2D2 because the droid contains the plans to the Death Star. Unbeknownst to Vader, he should really pursue Luke, this farm boy who is Special. The Matrix is similar: Smith is after Morpheus, this grand wizard who threatens the very empire he works for, but the one he should really seek is this hacker boy who is Special.
"Tell me, Mr. Anderson, what good is a phone call if you're unable to speak?"
7. Getting the bug out - Neo gets a ride from Trinity and is shockingly debugged
It's not sci-fi unless the tracking device is fucking insane.
This scene is similar to the hallway chase from chapter five. The heart of the scene is seemingly buried under a tense, action-y moment. In this instance, Trinity shocking Neo with an electric bolt to rip the bug out of him is the physical plot movement but what lies beneath (besides the bug) is Neo finally trusting those who seek to help him.
The bug implanted in Neo is another example of WHAT THE FUCK IS GOING ON IN THIS WORLD, though much more visual. In fact, the curtain is hanging by a thread as this scene has been ripping it apart. Like the bug. Yay, metaphors.
This is also the beginning of the supernatural aid, which culminates in the next scene.
Script notes: in the draft, this scene is exceptionally complicated. First, Neo meets Apoc on a subway platform where they escape the police, then Trinity takes him to a character named Gizmo (horrible name, unless it ends in -duck) who, with the help of a burly man named Hacksaw, removes the bug inside Neo in a similar but more excruciating manner as in the final cut. Here's a choice bit of dialogue from the end of the scene, after Gizmo "oogles [Trinity's] tight leather pants:"
Remember, ladies and gents, do not be afraid to trim and cut dialogue or characters.
"Because you have been down there, Neo. You know that road. You know exactly where it ends. And I know that's not where you want to be."
8. Morpheus' proposal - Neo meets Morpheus and learns about the Matrix
Neo finally meets his guide, the old man (sorry, Laurence Fishburne) who guides him on his journey of self-fulfillment. Generally, scenes with Morpheus contain important philosophical speech related to the themes of the movie. This introductory scene is proof. Morpheus does, indeed, tell Neo what the Matrix is: a prison for the mind, made to "blind you from the truth." He discusses fate, mentions Alice. At no point does Morpheus lie to Neo. The Matrix is everywhere.
But Morpheus cannot tell Neo exactly what it is.
Part of the reason for this is because if he did, then choice no longer exists. It's a crackpot theory - human enslavement by machines - and any rational person would simply refuse to believe it. We must be slowly coaxed towards the truth and we must be allowed to find the answer, ultimately, by ourselves. This is why Neo has to make the choice: red pill or blue pill.
The truth cannot be forced, it must be sought out.
In most movies, this scene would feel heavy-handed and would be a failure. It's over three minutes of exposition, mostly spoken by one character, in one location with minimal camera angles. For the scene to work, you need excellent dialogue, acting, and directing. The trinity, if you will. Fishburne delivers lines expertly crafted by the Wachowski's in that deep, philosophical voice. And even though he seems to be speaking nonsense, it's mesmerizing. There's sincerity in his voice and it intrigues not just Neo, but us, the audience.
Of note: Morpheus never takes off his sunglasses, constantly shielding himself from Neo.
"Unfortunately, no one can be told what the Matrix is. You have to see it for yourself."
9. Down the rabbit hole - Neo takes the red pill, a trace program is run, and he dials out
Morpheus' blue pill/red pill offering is a classic scene, one to be remembered for years to come. The dialogue is short, catchy, and informative. Most importantly, it builds anticipation and makes viewers shuffle in their seats, eager for what's to come. "Take the red pill!" they shout.
Like the interrogation scene earlier, this one has someone using the Matrix to put something in or on Neo. This time it's a mercury-like substance spreading over him, a visualization of a trace program Morpheus has initialized.
There's a nice little moment where Morpheus explains the pill Neo took is "designed to disrupt [his] input/output carrier signals", leaving a befuddled Neo to ask what that means. It's odd to believe a hacker like Neo wouldn't understand the jargon, and perhaps he doesn't because Morpheus isn't referring to computers but to Neo himself (oh, the irony). But seeing as how Neo and the audience are one (har har), it's a classic example of technical jargon needing to be explained, which Cypher is happy to do: "It means buckle your seat belt, Dorothy, 'cause Kansas is going bye-bye."
Cypher, you lovable traitor...
If the human-computer connection isn't made clear enough, the scene blacks out as Neo's scream merges with a modem dialing a connection. Go figure, I always enjoyed the sound effect, though I don't miss the SCREEEEETCH of dial-up modems.
"You take the red pill, you stay in in Wonderland, and I show you how deep the rabbit hole goes."
10. Slimy rebirth - Neo is unplugged from the Matrix and sees the human crop fields before being flushed out and getting picked up by the Nebuchadnezzar
What the fuck?
That might just be everyone's response when they see Neo's real birth, goo and all. Although this is a lot cleaner than the ones we're accustomed to...
This scene marks the end of act one and the crossing of the threshold - quite literally, as Neo leaves the simulation of the Matrix and enters the real world. The only bit of dialogue is at the end, when Morpheus welcomes Neo to...the real world.
The vast CGI and modeling in the scene gives us a glimpse at the true nature of humanity, plugged into pods filled with liquid, each connected to vast towers. A machine violently introduces itself to Neo and declares him unfit for his old home and flushes him away. The image of Neo being lifted out of the water, into the Nebuchadnezzar, is symbolism at its finest: birth by water and Christian imagery.
It also marks the first change in the cinematography, with the green tint giving way to a blue one accentuating the bleakness of this post-apocalyptic world.
"Welcome to the real world."
End Act One
We're a quarter of the way through the movie, but the biggest part comes next: act two. It's the longest and the toughest to write because it's where the actual story occurs. But it's the most fun!
My former screenwriting teacher, Mark Dickerman, spoke of the opening attack in a screenplay. It's the introduction to the world, to the characters, and it bears a lot of weight: if it's not up to par, theater goers will walk out. Suffice to say, the Wachowski's are quite adept at picking an excellent point of attack - one that is, literally, an attack.
What makes the opening scene of The Matrix stand out is not because it's action-packed but because it sets up so much in just three minutes. The opening dialogue, over a black screen peppered with green numbers, is intriguing. Who are these people? Whom are they speaking of? Who traced the call? If this is a movie about computers, then it's apt for it to open with numbers that lead us into the rest of the world.
The fight scene between Trinity and the cops establishes three pieces of information: this is quite the physically strong woman; there's something off about this world; leather is fashionable. The first is important because it's simple yet effective characterization. The second is evident with Trinity's signature flying kick and when she run across the wall. This characterizes the world and clues the audience in that this world isn't quite right. Not to mention, it's the introduction of bullet-time. The final piece, Trinity's clothing, appears inconsequential but it's further world-building. Nearly every character in this film wears badass leather garbs while jacked in, serving as the distinct uniforms of the counter-culture redpills. It's the cyberpunk influence as a visual statement.
Outside the hotel, we're introduced to big, bad Agent Smith. With regard to Trinity, this shows she is someone important because the feds - or those dressed up like the feds - don't just go after any criminal. If the cavalry has been called in, she must pose a serious threat. With regard to Smith, he and his pals' copy-pasted look - suits, glasses, ear pieces, high foreheads, etc. - gives them an uncanny feeling; there's something wrong with these men.
"No, lieutenant, your men are already dead."
2. Impossible pursuit - Trinity talks to Morpheus before fleeing over the rooftops; an Agent pursues her and she narrowly escapes the Matrix before a truck barrels into her phone booth
This sequence ups the adrenaline and further proves that holy shit there's something wrong with this world. The key moment is when Trinity and Agent Brown jump over a wide gap between two buildings, bewildering a bluepill officer. Interestingly enough, after Agent Brown makes the jump, the music reaches a crescendo and then stops. This minor musical arc fits perfectly because the same pause exists in the action as the audience has to consider what they just saw. The following dive by Trinity into a small, yellow window is all kinds of crazy and lets the directors use their patented bullet-time yet again.
And now we come to the phone booth. As Trinity runs toward a ringing payphone (in today's world, finding an exit would be so much more difficult), a passing dumpster truck screeches as it turns around and plays chicken with her. There's mystery here as the first question that springs to mind is: why the hell was Agent Smith in the truck? The next question is, where did Trinity go? As the truck pulls back, all we see is the wreckage of a wall and phone but there's no body in sight. Just what the hell is going on here?
This buildup is a continuation of the opening attack, further drawing the audience in with questions they're going to want answered. Of course, one must eventually answer said questions.
We entered the world through phone numbers and now we exit through a phone as the camera zooms into the mouth piece and finally takes us to our protagonist.
"That's impossible."
3. Follow instructions - Neo receives a message on his computer, makes a business transaction, and accepts a party invitation
Solitude is Neo's life: he lives inside a cramped apartment, dusty technology in every nook and cranny, and his computer searches for files related to a supposed terrorist named Morpheus. And now his computer directly addresses him: "Wake up, Neo. The Matrix has you."
If the opening two chapters introduced us to the physical world of the Matrix, in this one the Wachowski's introduce the philosophy. Between Neo's apartment number (101), Simulacra and Simulation, and the white rabbit tattoo on Dujour's shoulder, we're shown this will be a smarter movie than your typical action blockbuster.
Sparse dialogue and subtle visual allusions make this scene. Simulacra and Simulation and Alice in Wonderland appear worlds apart, but together they serve as key frameworks to understanding the entirety of The Matrix. It helps that the Wachowski's apparently had all principal cast and crew read the former if they were going to work on this film.
"It just sounds to me like you might need to unplug, man."
4. The question - Neo goes clubbing and meets Trinity, who tells him the truth is out there
Now we come to the inciting incident, and the timing fits: it occurs ten minutes into the movie. But numbers aren't enough to say Q.E.D. You can tell this is a pivotal scene because Trinity finally makes contact with Neo and tells him she knows why he's up all night, who he's searching for. She eggs him on so he can finally start the journey.
This, of course, is the call to power Campbell spoke of.
On a minor note, when Trinity gives her name to Neo, he remarks that he always thought she was a he. Trinity's response ("Most guys do.") is very apropos in a meta kind of way. Consider most blockbuster sci-fi action movies which don't have female protagonists who can kick butt-loads of ass. While The Matrix doesn't have a female protagonist, it does show that women are just as deadly through Trinity. Neo's comment is a self-referential remark on the opening sequence where Trinity drops a group of police officer, reminding viewers this will be a different sort of movie.
If you don't care about the monomyth, then care about the leather: it's the central aesthetic in this scene, which continues to characterize the cyberpunk influence of the movie. I may be harping on this point a bit much, but the fashion force is strong with this series.
"The answer is out there, Neo."
5. "They're coming for you." - Neo's late to work, attempts to evade the Agents with Morpheus' help, but just can't do it
"You have a problem with authority, Mr. Anderson. You believe that you are special, that somehow the rules do not apply to you. Obviously, you are mistaken. This company is one of the top software companies in the world because every single employee understands that they are part of the whole. Thus, if an employee has a problem, the company has a problem. The time has come to make a choice, Mr. Anderson: either you choose to be at your desk on time from this day forth, or you choose to find yourself another job."
Here's a lesson in foreshadowing. This entire little spiel by Neo's boss (Rhineheart) encapsulates the entirety of The Matrix on numerous levels: it describes the plot, the way the Matrix itself works, and presents Neo with an ultimatum not dissimilar to the one Morpheus will present him with soon enough.
When I watched this scene, I was distracted by the window-washers, as was Neo. Why were they there? Is it symbolism, a metaphor? Perhaps, by cleaning the windows and providing a cleaner view to the outside world, they parallel Neo's journey. Now that I think about it, the window-washers are a red herring. They're distracting the audience because they're distracting Neo: it's Rhineheart's speech that's at the center of the scene. Minor details like this speak volumes.
(minor research indicates the washers are supposed to be the Wachowski's in a cameo, though others suggest it's an indication of a glitch in the matrix or digital rain or any number of theories)
This is why the sequence in which Neo scurries through the halls, hoping to escape, is just an action set piece. It does, of course, have thematic importance because at the end Neo shows he's still too afraid to trust Morpheus, to "free his mind." But always look for - and write for - the deeper meaning.
Script notes: in the 1996 draft, when Neo returns to his cubicle, a co-worker jokes to him about getting fired. In the final cut, this man does not exist. This is a perfect example of less is more, of realizing there's no reason to create a nameless character who adds little to the plot or atmosphere. In addition, it's one less casting choice and salary producers have to worry about. Never be afraid to cut.
"I can't do this."
6. Unable to speak - Smith interrogates Neo, offers him a free pass if he helps turn in Morpheus, which Neo refuses
Protagonist, meet antagonist. Poor Smith wishes he'd have put a bullet in Neo at this point.
If the previous scene is the refusal of the call (Neo, after all, chooses to go into the hands of the agents rather than escape through the platform), then this is the repercussion of that choice. And the notion of choice is a repeating motif throughout the movie; Smith's offer is like Rhineheart's.
The bug is another instance of the curtain being pulled back, revealing the true nature of the world. But Neo and the audience aren't ready to be shown the truth, hence the decision to make Neo wake up from a nightmare immediately after. Was the bug real or not? Time will tell.
With the monomyth in mind, I've noticed a parallel with Star Wars. Darth Vader at first pursues R2D2 because the droid contains the plans to the Death Star. Unbeknownst to Vader, he should really pursue Luke, this farm boy who is Special. The Matrix is similar: Smith is after Morpheus, this grand wizard who threatens the very empire he works for, but the one he should really seek is this hacker boy who is Special.
"Tell me, Mr. Anderson, what good is a phone call if you're unable to speak?"
7. Getting the bug out - Neo gets a ride from Trinity and is shockingly debugged
It's not sci-fi unless the tracking device is fucking insane.
This scene is similar to the hallway chase from chapter five. The heart of the scene is seemingly buried under a tense, action-y moment. In this instance, Trinity shocking Neo with an electric bolt to rip the bug out of him is the physical plot movement but what lies beneath (besides the bug) is Neo finally trusting those who seek to help him.
The bug implanted in Neo is another example of WHAT THE FUCK IS GOING ON IN THIS WORLD, though much more visual. In fact, the curtain is hanging by a thread as this scene has been ripping it apart. Like the bug. Yay, metaphors.
This is also the beginning of the supernatural aid, which culminates in the next scene.
Script notes: in the draft, this scene is exceptionally complicated. First, Neo meets Apoc on a subway platform where they escape the police, then Trinity takes him to a character named Gizmo (horrible name, unless it ends in -duck) who, with the help of a burly man named Hacksaw, removes the bug inside Neo in a similar but more excruciating manner as in the final cut. Here's a choice bit of dialogue from the end of the scene, after Gizmo "oogles [Trinity's] tight leather pants:"
Gizmo
Goddamn, what I would give for a copy of that software.
Trinity
Gizmo, you don't have the hardware to handle this software.
Remember, ladies and gents, do not be afraid to trim and cut dialogue or characters.
"Because you have been down there, Neo. You know that road. You know exactly where it ends. And I know that's not where you want to be."
8. Morpheus' proposal - Neo meets Morpheus and learns about the Matrix
Neo finally meets his guide, the old man (sorry, Laurence Fishburne) who guides him on his journey of self-fulfillment. Generally, scenes with Morpheus contain important philosophical speech related to the themes of the movie. This introductory scene is proof. Morpheus does, indeed, tell Neo what the Matrix is: a prison for the mind, made to "blind you from the truth." He discusses fate, mentions Alice. At no point does Morpheus lie to Neo. The Matrix is everywhere.
But Morpheus cannot tell Neo exactly what it is.
Part of the reason for this is because if he did, then choice no longer exists. It's a crackpot theory - human enslavement by machines - and any rational person would simply refuse to believe it. We must be slowly coaxed towards the truth and we must be allowed to find the answer, ultimately, by ourselves. This is why Neo has to make the choice: red pill or blue pill.
The truth cannot be forced, it must be sought out.
In most movies, this scene would feel heavy-handed and would be a failure. It's over three minutes of exposition, mostly spoken by one character, in one location with minimal camera angles. For the scene to work, you need excellent dialogue, acting, and directing. The trinity, if you will. Fishburne delivers lines expertly crafted by the Wachowski's in that deep, philosophical voice. And even though he seems to be speaking nonsense, it's mesmerizing. There's sincerity in his voice and it intrigues not just Neo, but us, the audience.
Of note: Morpheus never takes off his sunglasses, constantly shielding himself from Neo.
"Unfortunately, no one can be told what the Matrix is. You have to see it for yourself."
9. Down the rabbit hole - Neo takes the red pill, a trace program is run, and he dials out
Morpheus' blue pill/red pill offering is a classic scene, one to be remembered for years to come. The dialogue is short, catchy, and informative. Most importantly, it builds anticipation and makes viewers shuffle in their seats, eager for what's to come. "Take the red pill!" they shout.
Like the interrogation scene earlier, this one has someone using the Matrix to put something in or on Neo. This time it's a mercury-like substance spreading over him, a visualization of a trace program Morpheus has initialized.
There's a nice little moment where Morpheus explains the pill Neo took is "designed to disrupt [his] input/output carrier signals", leaving a befuddled Neo to ask what that means. It's odd to believe a hacker like Neo wouldn't understand the jargon, and perhaps he doesn't because Morpheus isn't referring to computers but to Neo himself (oh, the irony). But seeing as how Neo and the audience are one (har har), it's a classic example of technical jargon needing to be explained, which Cypher is happy to do: "It means buckle your seat belt, Dorothy, 'cause Kansas is going bye-bye."
Cypher, you lovable traitor...
If the human-computer connection isn't made clear enough, the scene blacks out as Neo's scream merges with a modem dialing a connection. Go figure, I always enjoyed the sound effect, though I don't miss the SCREEEEETCH of dial-up modems.
"You take the red pill, you stay in in Wonderland, and I show you how deep the rabbit hole goes."
10. Slimy rebirth - Neo is unplugged from the Matrix and sees the human crop fields before being flushed out and getting picked up by the Nebuchadnezzar
That might just be everyone's response when they see Neo's real birth, goo and all. Although this is a lot cleaner than the ones we're accustomed to...
This scene marks the end of act one and the crossing of the threshold - quite literally, as Neo leaves the simulation of the Matrix and enters the real world. The only bit of dialogue is at the end, when Morpheus welcomes Neo to...the real world.
The vast CGI and modeling in the scene gives us a glimpse at the true nature of humanity, plugged into pods filled with liquid, each connected to vast towers. A machine violently introduces itself to Neo and declares him unfit for his old home and flushes him away. The image of Neo being lifted out of the water, into the Nebuchadnezzar, is symbolism at its finest: birth by water and Christian imagery.
It also marks the first change in the cinematography, with the green tint giving way to a blue one accentuating the bleakness of this post-apocalyptic world.
"Welcome to the real world."
End Act One
We're a quarter of the way through the movie, but the biggest part comes next: act two. It's the longest and the toughest to write because it's where the actual story occurs. But it's the most fun!
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