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8/20/2019 The Matrix Trilogy and the Revolutionary Drive Through the Desert of the Real
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h
A / ^ / r / V T r i l o g y a n d t h e R e v o l u t io n a r y D r iv e
t h r o u g h T h e D e s e r t o f t h e R e a l
Reviewers, critics, and audiences alike were stunned by visual and philosophical imagination
rendered in The Matrix (The Wachowski Brothers. 1999). Consequently. The Matrix Reloaded
(2003) was one of the most highly anticipated sequels of 2003.
Reloaded
did not live up to
the hype; it fnistrated many an audiences' desires.
The Matrix Revolutions
(2003) frankly left
audiences disappointed. Many argued that the final installments lost the metaphysical and
romantic insights ofthe original. The trilogy starts with a bang but ends with a whimper. The
transcendental vision that we viewers vicariously receive through the mind-bending e.\periences
of N e o Trinity, and M orpheus's journey down the rabbit hole in T h e atrix are not only eclipsed
but effaced by the drive through the desert of the real in Re vohttiotis. Our insight was blinded
and our hope was emptied; and that is precisely the subversive point o fthe trilogy. The sequels
fail to recapture the spirit o ft he first film because they surpass it. Although a great film.
The
Matrix
by itself is psychologically naive. Considered as part of
a
trilogy, each succeeding film
supersedes the previous in a dialectic that drives in circles arottnd the desert of die real,
subsequently hollowing out the heroic pleasures of salvation and sustained chase scenes in the
first two
films
To understand the true nature ofthe imaginary world of T h e
Matrix
that film must
be viewed alongside the worlds o \ Reloaded m^ Revolutions. I assert that although (he trilogy
may disappoint our desire for satisfactory conclusion, it does not deviate from its philosophical
trajectory of existential psychoanalysis. Instead, it appropriately carries itself through the three
realms of psyche corresponding to psychoanalyst Jacques Lacan s topology of Imaginary,
Symbolic, and Real. First, 1 will show how
The Matrix
has been critically mined for its themes
regarding the relationship between the Lacanian Symbolic and Real; and then I will argue how, as
part ofthe trilogy, the film should rather be conceived as the Imaginary step toward the Symbolic
Reloaded a n d Real Revolutions.
h e atrix
is neither Sym bolic nor Real but maginary
The Matrix
introduces us to Ihe realm of the Lacanian Imaginary, but not vi'ithout imaginary
conceptions ofthe Sy^mbolic and Real. What captured the hearts of general audiences and the
minds of academic critics was the film's literalized conceit that the world we live in exists only
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266 The
Matrix Trilogy
and the
Revolutionary Drive
through
"The D esert of the Real"
Real worid action is tied to ideological ac tion, but the two are stretched out of syncopation as our
culture becomes more concerned with the ever-expanding bureaucracies of rhetoric and internet
works of language. Words lose their reference to reality and symbolic thought supersedes direct
action. The reliance on the Symbolic affects our psyches. In Seminar V Lacan proposes that our
innermost being is an efiect of language : "The unconscious is constituted by the effects of speech
on the subject, it is the dimension in which the subject is determined in the development of the
effects of speech, consequently the unconscious is structured like a language" (149).
The
atrix
realizes such a psychoanalytic philosophy of symbolically constituted subjectivity
in celluloid. The film follows Mr. Thomas Anderson as he grow s steadily more worried that
the worid he thought was Real is in fact a game; perhaps
in his wildest dreams he even imagined it to be what it
is. a Symbolic construct. By day. Mr. Anderson puts on
the guise of the game and leads the life of
a
confonnable
corporate computer programmer, however, by night.
he defies the system as a criminal computer hacker and
dealer of illegal experience simulations who goes by the
cyberspace name of Neo. the new one. When Neo leams
from an anonymous hacker that "The MatrLv has you."
he seeks out uber-hacker Morpheus with the hopes that
Morpheus can answer the question which haunts his
dreams, "What is the M atrix?"
In his heart of hearts. Neo feels that the conventional
world is a facade, a veil covering an enigma. His paranoia
proves reasonable as M orpheus explains the reality of the M atrix:
M O RP H EU S. Let me tell you why you are here. You have come because you know
someihing. What you know you can 'l explain bul you fee it. You 've felt it your whole life,
felt that something is wrong with the world. You don 'l know what, but it's there like a splinter
it your mind, driving you m ad. It is this feeling that brought you lo me. Do you know what
I'm talking aboul?
N E O . The Matrix?
M O RP H EU S. Do you want to know what it is? The Matrix is everywhere, it's all around us,
here even in this room. You can see it out your w indow or on your television. You feel it when
you go to work, or go to church or pay your taxes. It is the world that has been pulled over
your eyes to blind you from the truth.
N E O .
What truth?
M OR PH EU S. That you are a slave, Neo. Like everyotie else, you were bom into bo n d ^e , kept
itiside a prison that you cannot smell, taste, or touch. A prison for yo ur mind.
What Neo thinks is Real is merely a symbolic construct, a virtual reality designed by what used
to be our civilization's machines for the purpose of pacifying the human mind as the human body
is harvested as a battery to run the machines.
The film physicallv realizes the Real, a psychological realm that Jacques Lacan defines as
"too transparent, too concrete," "what resists
symbolisation absolutely" {Seminar I 66-67).
3iid "that which is excised from the primordial
symbolization" Ecrits 324). Once Neo swal-
lows the red pill, he becomes immersed in
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The Matrix Trilogy and the Revolutionary Drive through The Desert of the R earV267
from the Symbolic Matrix into the Real world, whose Zionist inhabitants actively resist the virtual
order Once Nco's mind is disconnected from the Matrix and his body is ejected from the pod.
his psyche is forced to acclimate to the Real, in the film's case, a world in which the artificially
intelligent machines that served as the apex of human thinking have ironically overrun civilization.
enslaved humanity, and sent the only free minds into hiding undei^ound. literally, underneath
the earth. Being unplugged from the Matrix and forced lo be free in the Real wodd is trying, as
Morpheus attests to Neo: 1 teel that I owe you an apology. There is a njle that we do not free a
mind once it reaches a certain age. It is dangerous. They have trouble letting go. Their mind turns
against them. I've seen it happen. Deprived of Symbolic security, the Real floods the psyche.
This cut through the Symbolic chain of signification and submersion in a Real realm that
underlies everything we thought we knew is precisely that which provides such stimulation to
postmodern critics.
The Matrix
plays on cultural theorists' concerns that postmcxiem culture
has lost contact with tangible reality because it surfs a sea of signifiers. as exemplified by Jean
Baudrillard's Simulacra and Simulation.^, which just happens to be the hollowed out book in
which Nco stores his illegal sim discs. The science fiction element o f the film serves as backdrop
for the psychoanalytic philosophy of mind The M atrix steps outside of the conventional world,
questions its ontology, and deem s iis presence virtual in an effort to free the mind of its Symbolic
bonds, or at the very least render the psyche self-conscious of the Symbolic constructs that
permeate our relationship with the Real.
Jacques Lacan posits another psychological register that structures the human mind prior to its
exposure to linguistic culmre or its tm ying witli hard reality. His topology of mind is not dichotomous
(Symbolic/Real), but tripartite (Imaginary/Symbolic/Real). The Imaginary
refers
o the child's primal
Identification of self in a cohesive, specular image, in other words, the first and thus unparalleled
self-image. The Imaginary engenders one 's aboriginal feeling of ontological essence t)ver against the
bureaucratic existence within the Symbolic and the sublime submersion of self by the Real:
Imaginary
here
refers—in
the
first nstance, to
the
subject's relation
to its
formative identifications,
which is the true meaning of the term image in analysis—secondly, to the relation of the subject
to the real whose characteristic is that of being illusory, which is the facet of the imaginary most
often hi^lightcd. Seminar / 116)
In other words, prior to becoming disillusioned of our sense of self by the riddles of Symbolic
queries and ruined by the contingency of the Real worid. we all felt whole, unique, and one.
The original Matrix plays Into this primitive state as it enthralls its audience to identify with
Neo. who journeys on a quest into his very unconsciousness. Although virtual reality plays a
major role in the Symbolic/Real binary of the film, dream work constitutes The Matrix s deeper
method.
The Matrix
itself controls its subjects by plugging their dream life into its grid, such
that Neo inquires. You ever have the feeling that you 're not sure if you're awake or still
dream ing? Morpheus offers Neo the chance to follow his dreams: You take the red pill and
you stay in W onderland and I show you bow deep the rabbit hole goes. Soon, Neo leams
from his trip down the hole that he is the most important whole; be is the One. The first film is
less about the Symbolic Matrix having Neo than it is about Neo entering the dream life of his
ftindamental fantasy, an archetypal being of oneness and the savior of humanity, which he can
never consciously admit because the supposedly Real worid has robbed bitii of his uniqueness:
NE O. Why? So I can hear some old lady tell m e. what? That I'm this guy that everybody's
been waiting for? The one that's supposed to save the world? Come on. How do I respond
to that? I can'i. It's ridiculous. I mean w ho am I? I'm nobody, I'm just a guy. What did I do,
Morpheus? Why me
MORPHEUS. Faith is beyond the teach of whys and why
nots.
These things are not a matter of cause
and eflfect, Neo. I do not believe things with my mind I believe them with my heart In my gu t
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268/The atrix Trilogy and the Revolutionary Drive through The Desert ofth e Rea l
Order, he language and culture of patriarchal authority that constnicts. determines, and codes human
existence as if we were simply cogs (or batteries) in a machine. Agent Smith is the representative
programmatic enforcer, the superego voice of authority that would punish the nonbelievers who
question or challenge the law ofth e land {or mind); the M atrix actually equates w ith the Imaginary,
the realm of primary image and unconscious imagination, Morpheus guides Neo and the viewer
into the underworld of our unconscious tnind; the Nebuchadnezzar is the dream vessel, dreams
being regressive pathways back to the primary images of being when we were at one with the
tnother-world. And this vessel takes Neo to the old lady that Neo m entioned, who is in fact the
Oracle, the mother ofthe Matrix who verifies his transcendental status. We like to imagine that
there really is an alienating matrix that controls us so tbat we can escape our present predicament
and journey back to a state of authentic identity if someone offers us the red pill.
2
The atrix Reloaded is Symb olic
The atrix Reloaded traverses the Symbolic register. While the first film establishes Neo as the
messiah. the second film fially integrates the Imaginary One into the Symbolic Matrix. Now that
he recognizes that he is the One . doing as Link suggests, his Superman thang. Neo needs to
understand how to master the Matrix: I wish knew what was supposed to do. In thefirstfilm,
the mother ofth e Matrix, the Oracle, prophesied Ne o's unique distinction; hence, in the second
filtn, Neo m ust seek out the father of the Matrix, the Arch itect, in order to tlilly compute his
role as savior. The mother imagines the child's particularity within the universe while the father
ushers the child into the symbolic world.
On the surface, the middle movie is one long chase, with the highway scene at the
center. However, on a deeper level, the film represents tbe chase for the key to meaning, the
master signifier that will unlock the doors to perception, to God and m etaphysics. In order to gain
access to tbe master ofth e Matrix, Neo m ust master the key codes ofth e world; he must journe y
bebind and beneath the Symbolic virtual reality.
NEO. These are back doors, aren't they? Programmer access.
SERAPH, (nods.)
NEO.
How do they work?
SERAPH. The code is hidden in tumblers. One position opens a lock. Another position opens
one of these doors.
Neo leams from the Oracle that she herself is a program, just like the Arc hitec t
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The atrix Trilogy and the R evolutionary Drive through The D esert of the Reat'7269
Thus. Neo's goal, as is the psycho-philosophical motivation of the film, is to chase down
the transcendental meaning behind the Matrix and reverse the trilogy's initial hierarchy. By
confronting the father (the Architect) in an attempt to acquire his masterful knowledge of the
system, the Matrix will no longer have Neo. but rather Neo will have the Matrix.
When he fin lly confronts
the
Architect, who looks
lot like Sigmund Freud, with the question,
Why am I here? Neo leams.
Your life is the sum of a remainder of an unbalanced equation inherent to the programming of
the Matnx. You are the evcntualJtv of an anomaly, which, despite my sincerest efforts. I have
been unable to eliminate from what is otherwise a harmony of mathematical precision. While it
remains a burden assiduously avoided, it is not unexpected, and thus not beyond a measure ot
control. Which has led you, inexorably, here.
Neo's Imaginary status has fully entered into the Symbolic realm, for he discovers that he is
unique and not unique: he comes from a succession of aberrant saviors. As Imaginary superhero
in the first film, he represented salvation for others within the Matrix; as Symbolic savior in the
second film, he must rescue, if not redeem , the Matrix itself since The function of the One is now
to return to ihe Source, allowing temporary dissemination of the code you carr>-. reinserting the
prime prog ram, otherwise the system will crash, killing all the people in it. This raises many
questions (for instance, the contradictory nature of Neo 's m essianic status) and necessitates that
the third film answers the call.
Although inspired by the pure good of the imaginary demand for ontology' and teleology, for
first and final causes.
The atrix Relnadedin
fact weds the dual Sym bolic desires of the chase
for meaning and mastery of discourse. Moreover, the film blends the formulaic codes of action
genre movies with psycho-philosophical inquiry. It gives its return audience what it most desires,
enthralling action tied to Imaginary identification, while nonetheless frustrating and subverting
those desires: the highway chase is much too long and the Architect's answers cryptically
inconclusive if noi altogether mind-
boggling and confounding. This middU-
movie represents Lacanian desc
within the Symbolic at its purest.
Reloaded is the metonymy of desire
that will never achieve satisfaction
because it can only chase down the
highway of special effects, the great
chain of signifiers that no longer
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270/The Matrix Trilogy and the Revolutionary D rive through The Desert oft he Real
3 . The Matrix Revolutions is Real
The Matri x Revolutions crashes us off the adrenaline-Hie led highway chase of desire for sym bolic
mastery and drives us directly into the realm ofthe Real battle for Zion. While a pursuit within
virtual reality constitutes the midpoint of
Reloaded
an impossible battle for the human species
comprises the focus of Revolutions For Neo, the film begins in Limbo, where he is trapped
between this world and the machine world in a train station called Mobil {antonymic anagram
of Limbo) Ave.; and I would like to suggest that, for us. the film ends in Lim bo because the Real
is the purgatory of ineffable and indefinable action that underlies and underscores the Sym bolic
quest ibr final, transcendent meaning.
In The Matrix Neo fulfilled
our imagination's deepest de-
sire: his mastery of virtual
reality crowned him the chosen
One. In Reloaded he chased
down the key to tlie program,
thus accomplishing our desire to
unlock the eode of transcendent
meaning behind the symbolic.
In Revolutions Neo becomes
able to contrcil the Real world
sentinels
w lioiil
being jacked into the M atrix; he does not need to physically plug into the Matrix,
for his Real mind tarries with the Symbolic world of the machines and their virtual reality. The
Oracle explains. The pow er ofthe One extends beyond this world. It reaches from here all the
way back to where it came Irom. Neo 's power has spread from the Imaginary into the Symbolic
and finally emerges in the Real. The terminal world of Revolutions is neitlier a visionary game nor
a philosophical pursuit; it constitutes the onslaught ofthe Real. However, before we can appreciate
this we must first separate out the Symbolic cover from the Real undergirding o fthe f ilm.
At first glimpse, we are
led to believe that this Real
moves toward balance and
harmony. If Neo is Christ,
Smith is the anti-Christ. As
the Oracle further explicates:
He is you. Your opposite.
your negative, the result of
the equation trying to balance
itself out. Just as Neo first
establishes power within the
Matrix and subsequently gains control over the real-world sentinels from outside the Matrix,
from the space ofthe Real, Agent Sm ith m ultiplies himself like a virus within the M atrix, taking
over humans and p rograms alike, and then gains control ofth e mind of a real-world Z ionist, from
the space of the Symbo lic. The two opposing forces bring balance to the equation by canceling
each other out. Such erasure does bring hannony to the Matrix; however, it also evacuates their
unique identities: they become nothing more than positive and negative poles. Moreover, just as
Smith multiplies exponentially, we ieam that Neo
is
just the latest version ofthe previous seven
supposed the On es designed to bring hannony to the Matrix. The paradoxical reality of th e
situation is that Neo is no less a program matic copy than Sm ith. They are filial codes. The Oracle
is mother to both Neo and Smith, and both are illegitimate sons ofthe Architect. When Smith
infects the Oracle, she calls him a bastard, to which he replies, You would know. Mom . If
Smith is a bastard, so too is Neo, for both are bom ofthe Matrix (the illegitimate sense ofthe
term) and both seek to destroy it (the malefic sense of th e term). Our Imaginary identification
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The Matrix Trilogy and the Revolutionary Drive through The Desert ofth e RearV271
film, we are left w ith a conflict between Symbolic and Real: The M atrix seeks to envelop the real
world while the real world strives to undercut the Matrix.
Although we no longer identify with Neo due to the shifiing and expanding levels of prophetic
code in the final film, we nonetheless assume (because we have been programmed to by the
Matrix's narrative structure) that the revolution will play itself out in a final battle between man
and machine, between the One and the Other, between Symbolic and Real, Neo and Agent
Smith: and in fact the film does plot toward such a Manichean conflict resolution. The battle
royale between Neo and the hundreds of Smiths lays the figurative foundation for Zion's last
stand against the overwhelm ing sentinels. If Reloaded fi highway chase—if not the whole
film—is impossibly long, deferring completion in order to extend the tense pleasure as long as
possible, then Revolutions^ three epic battles among Neo and Smith and Zion and the sentinels
are impossibly true, as all hope is evacuated by the ever-multiplying, never-stopping Smith and
the ever-advancing, never-ending swanns of sentinels that rip through man and loading dock
alike. Humanity's numbers are limited; the machines are infinite. Zion faces an impossible battle
as immeasurable hordes of machines comprise a deadly mathematical subUme. Revolutions
shifts from the desire to overthrow the machines to the need to simply siuvive, sans prophecy
and philosophy, the machines.
Neo makes a deal with the Source, the real world Machine-God; destroy Smith to save the
Real w orld human city of Zion, The film theorizes two paradoxes. First, the Real world battle for
Zion stiggests that humans in reality can never defeat the overwhelming swarms of machines;
they require a savior to jack into the Symbolic M atrix, the virtual reality machine from which
they are struggling to fi ee hemselves: the human Real requires the Symbolic machine to exist,
even if the Symbolic seeks to destroy the Real, Second, Neo defeating Smith in the disintegrating
Matrix ironically preserves the Matrix; after all is said and done, the Matrix still has you, the
One: humanity has hollowed out the virtual but nonetheless still engages and immerses itself in
its envelope.
Neo has saved the Matrix and Z ion; however, both Sym bolic and Real salvation are tentative.
ORACLE. Well, now, ain't this a surprise.
ARCHITECT, You've played a very dangerous game.
ORACLE. Change always is.
ARCHITECT. Just how long do you think this peace is going to last?
ORACLE. As long as it can, (Architect starts walking away. What about the others?
ARCHITECT. What others?
ORACLE. The ones that want out.
ARCHITECT. Obviously, they will be freed.
ORACLE. 1 have your woM?
ARCHITECT. What do you ihink 1 am? Human?
Peace has broken out and the One has died. But the peace will not last for both sides need to
destroy the other: the human mind struggles to free itself from the virtual prison ofthe Matrix
and the machines cannot exist without enslaved human batteries. The Architect may free those
who want out, but they will only disseminate the ut^e for salvation, which must be destroyed by
the machines in order for the machines to survive. A new On e. technically the eighth One in the
succession of anomalies w ill be bom and this war will break out again.
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272/The Matrix Trilogy and the Revolutionary Drive through The Desert of the Real
is precisely to claim that, behind the incomplete/inconsistent reality we know, there is anotlier
reality with no deadlock of impossibility structuring it" (246). The second and third films of
the trilogy, however, subvert this imaginary desire, first by reloading us into the Matrix in the
second film and then by proving the pursuit for salvation, symbolic or otherwise, to be futile in
the third film. Redemption becomes Imaginary as Symbolic and Real oscillate in a never-ending
revolution, which is llindamentally unsatisfying from the standpoint of the first film's super-
beroic trajectory but was nonetheless prepared for by the second film's seemingly endless (and
ciiff-hangered) chase. The Real offers no Symbttlic resolution, only endless revolution.
In the final analysis, the trilogy hollows out both the choice of the red pill and the choice o f the
blue pill. The conclusion of the ilm proffers that no matter which side wins the b at tl e^ b e it Agent
Smith or Neo (or the Oracle): be it the demand for a godlike life of unadulterated, otnnipotent
being in a metaphysical, artificial intelligence or the desire for excessive and gratuitous simu lation
stitnulation via an explosion of filmic codes and conventions regarding chase scenes; be it the
Imaginary or the Symbolic—neither imaginary demand nor symbolic desire will ever really
"win." Revolutions shows us that neither the pleasant dream of being inside the Matrix nor tbe
ideological struggle against the wodd of the machines outside the Matrix is tenable because both
imaginary identifications and symbolic desires are undermined by tbe film's revolutionary, yet
decidedly non-dialectical and rather circular logic, which negates Neo's messianic originality and
sacrifice. All we are left with is "the desert of the real" that has now been doubly desened: while
M orpheus disillusioned N eo of his Symbolic O rder by introducing him to "the desert of the real"
in
he
Matrix he enthralled Nco (and us) in a dream of tbe stmgg le for atithenticity over against
our symbolic reality. Revolutions finds Morpheus winning, or at least surviving, the battle in the
Real wo dd ; however, not only does the Matrix still exist but the dream dies for us as we leam the
Matrix saw at least seven such messianic battles before Neo . Moreover, Sati (another offspring of
programs no less ) makes sunlight, which should provide a satisfactory conclusion, but it cannot
because on the one hand, the conversation between the Oracle and the Architect sugg ests that the
peace is tentative, and besides, the rainbow-colored dawn is at best an entertaining but hollow-
spectacle and at worst a false covenant with tbe Matrix, with the Machine-God. This is the Real
desert of the real, the realm in which the subject's dreams of being and symbolic struggles are
hollowed out of
ll
hopeful investment. Revolutions accomplishes nothing but more Sisyphean
revolu tions; satisfaction is supplanted by the drive toward d ivestment. We are perpetually driven
to choose between the two, imagination and symboUzation, in an unending revolution of thought;
however, neither the Imaginary nor the Symbolic wins, for the Real trumps both by hollowing
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The Matrix Trilogy and the Revolutionary D rive through The D esert of the Re ar72 73
Works Cited
Lacan, Jacques.
Ecrit.-<.
1966. Trans. Bruce Fink. New Y ork: Norton, 2006.
. The Language of the Self: The Function of Language in Psychoanalysis. 1953.Trans. Anthony
Wiiden. Baltimore: Johns Hopkins UP, 1 981.
. The Seminar of Jacques Lac an. Book 1 : Freud s Papers on Technique. 1953~1954. Ed. Jacques-
Alain Miller. Trans. John Forrester. New York: Norton, 1988.
. TTie Seminar of Jacques L acan. Book X I: The Four Fundam ental Concepts of P.sychoanalysis.
1964.
1973. Ed. Jacques-Alain Miller. Trans. Alan Sheridan. New York: Norton, 1981.
The Matrix. Dir Andy and Larry W achowski. Wamer Bros., 1999.
The atrix Reloaded Dir. Andy and Larry W achowski. Wamer Bros., 2003.
The atrix Revolutions. Dir. Andy and Larry W achowski. Wamer B ros., 2003.
Slavoj, The Matrix: Or. The Two Sides of Perversion. The Matrix and Philosophy: Welcome to the
Desert of the Real
Ed. William (nvin. Chicago: Open Court. 2002. 240-66.
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