The Matrix: Not just an action film, but a work of art

In the movie The Matrix, many elements of cinematic language can be seen as one begins to dissect the film as a work of art.  The text describes cinematic language as "composed of not words but of myriad integrated techniques and concepts, connects us to the story while deliberately concealing the means by which it does so" (3). The movie The Matrix does just this as it uses special techniques including varied camera angles and lighting to inadvertently give the reader clues about the story line and the characters. These clues are so important to the viewer because they can give meaning, and emotion to a scene or to characters in the movie.

One specific technique used by the directors, the Wachowski brothers is the low angle shot. The low angle shot is used to give a sense of power to certain characters by literally placing the camera at an angle that "looks up" at them. In one of the very first scenes, Neo is seen talking to his boss about his tardiness. In this scene Neo is standing up in the room while his boss sits down in a chair in front of him. While Neo talks with his boss, the camera is directed at a low angle shot looking upwards at Neo while his boss is filmed at a shorter distance below. This cinematic language could be interpreted in many different ways, however, it would most commonly be viewed as Neo being "higher" than his boss. As the plot later reveals, Neo is not meant to stay in this position as a business man for a large company that confines him to a cubicle. This use of a low angle shot gives the viewer clues alluding to the fact that Neo is "above" this job and is "better" than someone who spends their life in the office, like his boss.

An additional form of distorted camera angles is the way in which Morpheus is shot when Neo first encounters him. At first, the shot slowly pans up to the building in which Morpheus is waiting. The slowly rising camera mimics Neo's, as well as the audience's anticipation for meeting this infamous character. After this shot, the camera is now pointing downward on the building as Neo exits the car. This switch in camera angles brings the focal point back to Neo and almost points out that Neo is "lower" than Morpheus. This makes meeting Morpheus even more suspenseful because Neo is not as powerful as Morpheus. The next shot shows Neo walking up the stairs as the camera slowly spins in a circle and captures Neo rising higher and higher as he gets closer to the top. This slowly spinning camera action really emphasizes the anticipation of coming face to face with Morpheus and adds additional suspense to this scene. These sequential camera angles create the perfect set up for the audience to experience a bit of "feeling on edge" to finally encounter this mysterious character.

Another example of cinematic language in The Matrix is the way some of the scenes are lit. Lighting can impact how the viewer interprets the mood or vibe of the scene. In the interrogation scene between Neo and Agent Smith, there is an overwhelming amount of green saturation throughout the whole scene. A green coloring in this instance may demonstrate a feeling of "sickness" or disgust. These moods that are portrayed reflect how Neo is feeling toward Agent Smith, which in turn prompts the viewer to feel similarly about the Agent.  The green hue in this scene may also reflect the sense of shock and how appalled Neo is to see the "bug" enter his body. This unrealistic element combined with the green hue of the scene convey a feeling of sickness and being uncomfortable to the viewer.

After viewing The Matrix, one can see that it is not just a great action film, but a work of art. The cinematic elements, once analyzed, can portray feelings and even clues to the viewer, without the viewer even realizing it. These elements are extremely important when creating a film because they not only prevent the movie from seeming boring, but they also help the audience understand the film as a work of art.

Works Cited

Barsam, Richard Meran and Dave Monahan. "Chapters 1 & 2." Looking at Movies: An

Introduction to Film. New York: W.W. Norton &, 2010. 2­63. Print.

The Matrix. Dir. Andy Wachowski and Lana Wachowski. Perf. Keanu Reeves, Laurence

Fishburne, Carrie­Anne Moss. Warner Bros., 1999. DVD.

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