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“Wow. =\ And that is all there is to say.” - Chara Isis
The Matrix is a film that astounds not only with action and special effects but also with ideas. These pages are dedicated to exploring some of the many philosophical ideas that arise in both the original film and the sequels. In the upcoming months we will be continually expanding this section, offering essays from some of the brightest minds in philosophy and cognitive science. News about updates to this section can be found right here. (Scroll down to read about the latest update, or just click here.)
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Set against the futuristic landscape of totalitarian Britain, V For Vendetta tells the story of a mild-mannered young woman named Evey (NATALIE PORTMAN) who is rescued from a life-and-death situation by a masked man (HUGO WEAVING) known only as “V.” Incomparably charismatic and ferociously skilled in the art of combat and deception, V ignites a revolution when he urges his fellow citizens to rise up against tyranny and oppression. As Evey uncovers the truth about V’s mysterious background, she also discovers the truth about herself – and emerges as his unlikely ally in the culmination of his plan to bring freedom and justice back to a society fraught with cruelty and corruption.
Some see the mask of the devil, others – a dark angel. Whatever one’s visual perspective, facing us is a truth about our selves. This truth is menacing and attractive all at once, taking a hold of the darkness within us and dragging it out into the excruciating light. Our burning tears scream in the long ago but brilliant memory of our innocence. We see ourselves as children again, lost and angry, who have turned against ourselves out of fear and pain. We have done so much and been gone from ourselves so long that we still resign ourselves to the belief that it is too late for us – that the next generation must find a way out of this sickening madness of resignation. But what will our children know other than what we show them? How will a glorious future rise out of the ashes of our shame if we do not seek the rain?
This movie does not by accident include that which spirituality and philosophy attempt to articulate. To think, to live free, to face fear and overcome it, are all depicted in this film. The film fails on one level though, despite its revolutionary and inspirational offerings. The film does not embrace the complete truth, nor tap into that infinite power of love. It casts love and truth as abstracts to be believed in or not. Nevertheless the film cannot deny the actuality of truth and love and would not be worth watching if it did. Like so many other “brilliant” films, the script invariably suffers from that which it wishes to expose – a denial of responsibility of sort. The power it appeals to, which it never claims outright, is that power which comes from God.
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Written, directed, edited and starring Kitano Takeshi, this isn’t your typical Yakuza film. Murakawa is tired of the life and entertaining the idea of retirement. When a suspicious routine mission turns sour, he and his team regroup at an unused vacation home. While there, idle minds transform disciplined gangsters into fun-loving children. But this is only a quiet interlude, for there is no reprieve from the life of a Yakuza, and in spite of the moments of laughter, the harsh reality of their vocation is inescapable. The music score is dreamy at times, wonderfully complimenting the lighter scenes of the film. And while there are details which have been blatantly overlooked (i.e., not one policeman in sight) the film is entertaining and wonderfully directed.
If you don’t mind sub-titles, check out this story about courage. How children are thrust into situations they have no understanding of, besides what is right and what is wrong, and have the courage to act on that. With wonderful cinematography, excellent direction, and a lovable hero, this film reminds the viewer of innocence lost and speaks to the universality of the challenge facing children everywhere - growing up.
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