I don’t know how many people like me, before buying tickets to watch "The Matrix" III (hereinafter referred to as I), will take out "The Matrix" I and II (hereinafter referred to as II, III) carefully, Respectfully review it again.
Afterwards, I doubted the significance of this approach: if a movie is to be guessed as a mystery, then how much fun is left of simply watching a movie? Of course guessing is fun to guess, but that is two different things. Of course, I can also pretend to be ignorant and unconsciously try to be purely entertained, but it is a pity that I already know quite a lot about movies, and once the innocence is lost, it will never be there again. It is frustrating to understand this. However, when sitting still in the cinema, when the surroundings are dark, and the screen is lit up, I find that all worries and frustrations are superfluous. That beam of light and those sounds act on our subconsciousness. This is what we will always suffer. The reason for the bewitching movie. Just as the deep and affectionate dialogue between Orpheus and Neerbi: "Some things in this world will never change... and others will not." The "The Matrix" III movie itself is actually the sentence. Best comment. The three episodes of
"The Matrix" maintain a high degree of continuity in the main characters and plots. On this basis, the theme elements have always been a strong question of the instrumental rationality represented by the machine, including empiricism. Where is humanity going, where is the value and power of human beings? On the surface, the film seems to be more optimistic about Eastern metaphysics and mysticism, but at its core it is still the romantic proposition of European classical literature and art: love. Love is the greatest reason for human existence and the most sufficient reason. It is precisely because of love that Rinho in the first episode can be awakened by Trinity’s kiss. Because of love, Rinho in the second episode can choose to save Trinity. Because of love, Trinity can be deleted in the third episode. Sacrificing himself for Neo, and it was this sacrifice that ensured Neo's victory in the final duel concerning the life and death of all mankind. Among human emotions, it seems that only love is the least likely to be imitated by machines. It is too complicated and elusive. It can only be described but not defined. At the end of Ⅲ, the computer man Smith had a large-scale dismissive evaluation of the "love" of human beings, which just reflected the film makers' cherishment of this kind of human emotion from the negative side.
Chinese Kungfu is still a big selling point of the film. Compared with the abuse of Ⅱ, the display of Chinese Kungfu in Ⅲ is basically limited to the last key fight. Seeing that a battle that determines the destiny of mankind depends on Chinese time and effort to decide the outcome, every Chinese will be a little complacent. I often think that this should be the main reason why "The Matrix" is so popular in our country. The prophet is still playing a role that rarely shows up but always plays a key role. Like the previous two episodes, her words are still mysterious and mysterious, but they can always make people feel a little bit at the end of the film. Just like the balance she said this time, it's really not worthwhile to put it bluntly. She enhanced the power of the computer human by being copied by Smith, and carefully controlled this power beyond the scope of the machine matrix, but could not defeat Neo, so that in the machine matrix, the human society represented by Neo, and Smith Establish a delicate balance between. This balance is the prerequisite for Neo to negotiate with the machine matrix-isn't that the case with the Three Kingdoms?
appeared in Ⅰ and Ⅱ and continued in Ⅲ is also the fascination with Eastern style metaphysics. Why are the prophets always hesitant and vague in their predictions of the future? In III, there is a relatively clear attitude towards this. The unspeakable future does not mean that the future is unknowable, but a kind of self-consciousness of its own small role. Similar to ordinary hero movies, Neo’s identity as the savior was questioned from the beginning to later confirmed. This process has been repeated in the three episodes of The Matrix. But in this process the concept of savior was quietly replaced. The coolest shot in the film is still a 360-degree rotating shot, and the freeze and high speed in the action shots are also used to the extreme. When needed, the camera always appears in the most incredible position and in the most incredible way. These make the appearance of the film very modern.
Others are always changing-this is probably also very helpless. A movie with an uncertain future (Ⅰ) and a sequel (Ⅲ) that has undergone risk assessment and pays attention to the rate of return on capital will always have a different temperament. When I recovered from the magnificent war scenes of III and the fighting scenes from heaven and earth, I found that although III can shock us just like I, it has inevitably successfully transformed from a creative spectacle into capital.Spectacles and technical spectacles, I can see it walking on the road from niche movies to popular movies. Therefore, it is inevitable that III has made changes in many aspects that are more in line with the taste of the public.
In Ⅰ, although the strongest conflict in the plot comes from the confrontation between free humans and the machine matrix, it is obvious that the film focuses on people’s understanding of their own situation, whether it is Neo’s awakening or the traitor’s preference to return to the virtual The world is a reasonable response of human nature under certain conditions. In Ⅲ, it is said that "everything has a cause and effect", which means that people's knowledge of themselves is the cause, and the confrontation with the machine is the result, not the opposite. By Ⅲ, the intense introspection of human beings gave way to simple and intense external conflicts that are clear at a glance. People are no longer trapped in their own weaknesses. All their plights only come from the fact that their enemies are too strong. They themselves will not be contradictory, hesitant, and hesitant. Therefore, they only need direct emotion: bravery and fearlessness. This was extremely obvious in the main event of Zion Defense in III.
is different from the guerrilla warriors who confronted the machine matrix in Ⅰ. In the opposite of the machine matrix,
constructs a neat and orderly human society, which also means the transfer of "The Matrix" from personal writing to grand narrative. Whether it is a macro description of the war scenes or a cross-sectional representation of the war figures, it highlights the more mainstream values: selflessness, dedication, unity, heroism... In the part about Neo, he is also portrayed Cheng is more in line with the image of such a value: he set out to save mankind and dare to sacrifice for mankind. I would think this way. If the humans in the film really defeat the machine matrix and build their own society one day, the biopic they made for their leader is probably like "The Matrix" III. At this point in the film, it seems that it has begun to forget what it has repeatedly emphasized: the real problem of mankind always lies in themselves, not something outside. It has begun to forget the phrase "know yourself" engraved on the door of the prophet! The ultimate dilemma of mankind is to know oneself forever and never achieve it. Unfortunately, the film itself is also caught up in the myth that it has constructed.
-
-
-
-
-
-
-
-
-
-