The final fight scene between Neo and agent Smith
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The final fight scene between Neo and agent Smith and the death and resurrection of Neo from the film “The Matrix”
In the film “The Matrix” there are many references to religion and reality. The name Neo in its self is an anagram of the word, one, which could be conveyed as a suggestion of the Son of God. The directors try to convey the religious aspects of the film through music and film techniques which I will explore throughout my essay.
The final fight scene starts with a distance shot of the subway and the telephone and Morpheus, Trinity and Neo, running to the phone. The shot then changes to a mid shot, and Neo beckons Morpheus to answer the phone first. This could be suggesting that Neo is like Jesus, letting his followers go before him to the kingdom of God. The camera then cuts to another mid shot of Morpheus picking up the phone and being transported to the real world. This may portray the idea of ascending to heaven, or the real world as it is portrayed in the film. In the film the last human city is called Zion. In bibulous references it is the mountain on which paradise stands as the kingdom of God or the holy city of Jerusalem. After this there are a number of transitional close shots of neo and trinity’s upper body. Just after Trinity picks up the phone and she sees Agent smith and as she leaves the matrix he shoots the phone, the openly escape from the real world. This could be interpreted as the devil blocking humans from a life in paradise. If explored further it could be suggested that he is stopping Neo, who is suggested to be Jesus, of return to heaven, or because Jesus is only human.
The next shot is of Agent Smith approaching Neo. He refers to him as Mr Anderson, which portrays a sense of disbelief of his true form, almost as if he was an atheist, not believing in him. Neo is then presented with a choice: stand and fight for what he believes in and suffer or to run away. This is very similar to what Christ had to choose between in the garden of Gethsemane. It then cuts to a close shot of Trinity saying “Run, Neo, run” which is very similar to what Peter says to Christ, and tries to tell him to back away, and that he doesn’t have to go through with it, but to no avail. The next shot is of Neo viewing both choices but choosing the option to suffer. This choice is then affirmed through Morpheus’ line, combined with a close shot “He is beginning to believe.” This shows that he has already made his decision, just as Christ had before he was arrested.
There is then a transitional multi focus long range shot between neo and Agent smith which some sort of litter blowing across the middle of the shot. This pays homage to the spaghetti westerns, directed by Serge Leone.
The actual fight scene contains a number of transitional close to long shots switching from each type of camera angles in the spectrum. Tension is built up using music and the very acute sounds of items breaking and clicking such as the pillars in the sub way, and in particular, Agent Smith’s neck and fingers. As the first section of the fight scene reaches its climax (through the use of music) Agent Smith hits Neo and sends him hurtling away from him. His choice now stands again he can either run away or stand and fight. He chooses again to fight. This act of courage is conveyed to the audience through the hand gesture to attack. There is then a zoom from a mid hot to a close up of Neo’s hand as he beckons.
There are more fast transitional shots between Neo and agent Smith as the fight continues but again Neo is defeated by Agent Smith, as he drags him onto the train lines and gets him in a head lock. As he is dragging him the camera follows as if it were being dragged as well. As Neo hits the floor, the camera shakes to give the audience a sense of actually
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Cinematic techniques, Fictional cyborgs, Australian films, Filmmaking, The Matrix, Neo, Trinity, Morpheus, Agent Smith, Cinematography, The Oracle, Bullet time
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