The movie “The Matrix” has various references to religion and reality, such as Neo’s death and resurrection.
The name Neo is an anagram of “one,” implying a parallel to the Son of God. The directors’ goal in the film is to portray religious themes, achieved through the utilization of music and film techniques. This essay will delve into a detailed analysis of these elements.
The final fight scene commences with a distant shot depicting the subway, telephone, Morpheus, Trinity, and Neo all rushing towards the phone. To start with, the camera alters to a mid shot where Neo gestures for Morpheus to answer the phone before him. This action can be perceived as drawing parallel to Jesus, who allows his disciples to go ahead of him into the kingdom of God. Subsequently, the camera transitions to another mid shot of Morpheus picking up the phone and being transported to the real world. This scene may symbolize ascending to heaven or entering the real world as portrayed in the movie. The film refers to the last remaining human city as Zion, which in biblical references represents the mountain holding paradise, also known as the kingdom of God or the holy city of Jerusalem. Following this, various transitional close shots of Neo and Trinity’s upper body are shown. Immediately after Trinity answers the phone and spots Agent Smith, who shoots at the phone, they escape openly from the real world. This could be interpreted as the devil obstructing humans from attaining a life in paradise. Upon further examination, it could be suggested that he is preventing Neo, who is implied to be Jesus but only human, from returning to heaven.
The following scene shows Agent Smith approaching Neo and calling him Mr. Anderson. This action reflects a sense of doubt towards Neo’s true nature, similar to that of an atheist who does not believe in him. Neo is then faced with a decision: either confront and fight for his beliefs and endure the consequences, or flee.
The situation Neo faces is reminiscent of Christ’s dilemma in the garden of Gethsemane. In a close-up shot, Trinity urges Neo to run, similar to how Peter advised Christ to step away from his impending suffering. However, Neo disregards the advice and opts for the path of suffering, as portrayed in the subsequent shot where he contemplates both choices. Morpheus further confirms Neo’s decision with the line “He is beginning to believe,” paralleling Christ’s firm resolution prior to his arrest.
Between Neo and Agent Smith, there is a transitional shot that captures a long range view with multiple focuses. In the middle of the shot, there is some litter blowing across, which serves as a tribute to the spaghetti westerns directed by Serge Leone.
The fight scene in question incorporates a range of camera angles, from close-ups to longshots, creating a transition between each angle. The tension in the scene is heightened through the use of music and the sharp sounds of objects breaking and clicking, including the pillars in the subway, as well as the cracking of Agent Smith’s neck and fingers. As the initial part of the fight scene builds towards its peak, marked by the accompanying music, Agent Smith strikes Neo, propelling him away. At this juncture, Neo faces a crucial decision – whether to flee or to continue fighting. Once again, he opts to fight, signifying his courage through a hand gesture indicating an intent to attack. The audience witnesses a zoom from a medium shot to a close-up of Neo’s hand as he signals his intentions.
The fight between Neo and Agent Smith continues with more fast transitional shots. However, Neo is defeated once again as Agent Smith drags him onto the train lines and puts him in a headlock. The camera follows the action, giving the audience a sense of actually being there. As Neo falls to the floor, the shaking camera recreates his perspective. Agent Smith declares, “That is the sound of inevitability. That is the sound of your death.” In response, Neo confidently states, “My name is Neo.” This revelation signifies Neo’s realization that he is ‘the one’ to the viewers.
Neo’s death scene begins with him running through the building where the film began. As he runs to the ringing phone, the camera shifts from third person mid shots to first person. The audience is able to hear the quiet ringing of the phone through the deep bass, which indicates that Neo’s blood is pumping in his ears and intensifies the tension in the scene. When he opens the door, the camera changes to a mid shot from Neo’s abdomen, revealing Agent Smith’s gun on the side of the shot. The volume of the phone is then lowered to highlight the audience’s connection to the film.
The camera alternates between Agent Smith and Neo. A slow-motion flash occurs in a midshot of Neo. Throughout this slow-motion sequence, the sound of the phone can still be heard. The shot then transitions to a first-person view from Neo’s perspective, with his chest in focus and his blood-covered fingers.
The following scene depicts Agent Smith firing a shot at Neo from a birds’ eye view. The camera then switches to a mid shot of Neo falling backward into the corridor. During this sequence, the only audible sounds are the ringing phone and the gunshots.
This has been done for dramatic effect, as it suggests to the audience that the only thing that can be heard is the next shot. The next shot showcases Agent Smith stepping out of the room and shooting Neo three times from a long distance down the corridor. Suddenly, the camera shifts to a close-up of Agent Smith gripping his gun tightly while wearing an angry expression on his face. Following this, another close-up is shown featuring Neo with Agent Smith’s gun also in view. Subsequently, Neo slowly descends along the wall. Later in the scene, it transitions to Morpheus and Trinity after Neo’s demise. Close-ups then display Morpheus and the sentinels destroying the ship.
Trinity addresses Neo’s lifeless body and speaks to him intimately. The camera alternates between capturing Trinity’s face and Neo’s face. As Trinity communicates with Neo, the music and sound effects decrease in volume. She confides in him, sharing that the Oracle has revealed her destiny to fall in love and identifies Neo as the chosen one. Trinity reassures Neo that he cannot be dead because she loves him. The camera then shifts to focus on a close up of Neo’s face as Trinity leans in to kiss him.
In this scene, Morpheus responds to Tank’s question about Neo by declaring him as “the One.” Following this statement, a shot shows Neo standing up. The music during this part is calm but suggests a possible buildup. The peacefulness of the music implies that Neo understands the situation. Moreover, the scene is presented in slow motion, emphasizing Neo’s comprehension. The use of almost sacred music strengthens the association between Neo and the Messiah figure connected to being “the One.” Then, a computer-generated shot reveals Neo’s perspective, allowing him to see the Matrix clearly. In the next shot, bullets are shown approaching him either from a third person view or as if filmed from their point of view. This bullet time technique is used by the directors to create a sense of control for viewers. As Agent Smith tries to attack Neo, he anticipates and successfully defeats him. This particular scene continues exploring clarity through additional moments in slow motion and religious music.
In “The Matrix”, the directors utilize various camera angles, effects, and music to set the atmosphere and convey their ideas. These techniques draw attention to specific lines, like “he is beginning to believe,” through actor expression and zooming in. Combined with significant story moments, these elements create a captivating cinematic experience.
The movie also explores religious themes. For instance, when Neo defeats Agent Smith, a burst of light symbolizes a messianic presence, reminiscent of Jesus revealing himself in radiant light. The film’s musical composition further emphasizes religion by resembling traditional religious music and connecting Neo and Jesus as iconic figures.
