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PostSubject: Movie Scenes Wed Apr 18, 2012 7:52 pm

Post your favorite movie scenes.

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PostSubject: Re: Movie Scenes Wed Apr 18, 2012 7:54 pm

One of the most touching scenes in the entire movie.
A final lament on lost memories and moments that are gone forever.


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PostSubject: Re: Movie Scenes Wed Apr 18, 2012 7:58 pm

Epigraph on a lost generation of men.
Manhood remembering itself.


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PostSubject: Re: Movie Scenes Wed Apr 18, 2012 8:10 pm


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PostSubject: Re: Movie Scenes Wed Apr 18, 2012 8:31 pm




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PostSubject: Re: Movie Scenes Wed Apr 18, 2012 8:36 pm


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PostSubject: Re: Movie Scenes Mon Jun 11, 2012 8:31 am

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PostSubject: Re: Movie Scenes Sat Jun 30, 2012 7:34 am



It gives me a sense of deja vu.

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PostSubject: Re: Movie Scenes Sat Jun 30, 2012 9:27 pm



I know it's a movie about vampires, which is fantasy, but i love the acting in this movie. I consider it a drama anyway, rather than a horror movie. Brad Pitt and Tom Cruise were just brilliant.

Louis also represents someone who can't accept his own nature. He hates himself as a vampire.
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PostSubject: Re: Movie Scenes Sat Jun 30, 2012 9:40 pm

The film is also another moralistic ploy.

The one accepting his difference, his superiority, suffers greatly, though in the end he survives.
The other cannot accept his superiority; he cannot stop thinking of his prey as if they were of his own kind.
he would rather kill rats and dogs...because he is still "human" in his mind.

Here we see this tribe within a tribe.
We already know it occurs with the Bilderberg Group and the Royals and cults in general; from the past, with the Free Masons and the Illuminati....the Christian Church, no matter its denomination, can be considered an elitist group....as are the Jews.

But what are the masses sold?
The ego is bad; to discriminate is evil; to feel superior is vanity.

It is sold the lie of humanity.

Natural selection is NOT about humanity.

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PostSubject: Re: Movie Scenes Sat Jun 30, 2012 9:52 pm

Satyr wrote:
The film is also another moralistic ploy.

The one accepting his difference, his superiority, suffers greatly, though in the end he survives.
The other cannot accept his superiority; he cannot stop thinking of his prey as if they were of his own kind.
he would rather kill rats and dogs...because he is still "human" in his mind.

The ego is bad; to discriminate is evil; to feel superior is vanity.

Yeah, and if you ARE powerful than you should not be allowed to show it. I hate liberalism. lol

I also like how Lestat is someone who doesn't care to change himself or lament over what he is. In many ways he rejoices in his nature. He has nothing to teach Louis or Claudia, (Kirstin Dunst), and he leaves them to thier own devices. and they can't handle it. They are weak.

Armand, (Antonio Banderas -awesome) sees in Louis a beautiful "weakness" because Louis is frail. He's kind of like a woman in many ways, he makes the decision to become immortal and have all this power, and then he cant deal with the consequences.

Haha, dam, i hate to point out things about womanhood, but it's kind of true!
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PostSubject: Re: Movie Scenes Sun Jul 01, 2012 6:15 pm

Equilibrium is another one of my favorites. It's about a kind of "post-human" society, where emotion has been completely controlled and outlawed. It's an extreme form of a utopia where the idea of "progress" is taken to its fullest extent and is meant to be directly related to ridding human nature of "its nature" emotion and feeling.

It's kind of ironic also because in the movie, there are armies of men with guns standing on every corner and they kill and murder anyone who "feels" anything. So murder and war is not gone, it's just been "justified" by the cold nature of logic.

This is a scene where that contradiction is shown. Where Preston kills his friend who has chosen to break the law and "feel human" by reading poetry.

When he shoots him through the book, i think it symbolizes that real "thought" which is creative and passionate, comes into conflict against "empty thought" which is mindless. Christian Bale was awesome in the batman series, but sometimes people forget how great he was in his older movies like this one.

I love him.




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PostSubject: Re: Movie Scenes Sun Jul 01, 2012 6:52 pm

Not a film clip, but a trailer. A sheltered retard goes off to save nature... and gets what he deserves.

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PostSubject: Re: Movie Scenes Sun Jul 01, 2012 7:00 pm

Recidivist wrote:





Oh yeah, i have actually seen this movie and i know about this guy. A tree-hugging fruitcake that thinks nature is supposed to be loving and free.

He is a real example of how modern people live in their own minds and romanticize nature as being anything but cruel. It would have been different if he had this kind of naive mindset and went into the wild and actually LEARNED that it was brutal, but his childish beliefs still didn't change, even after going back year after year, which makes him, like you said, a retard. lol.

some of the video he filmed was pretty cool though. i have to give him that.
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PostSubject: Re: Movie Scenes Sun Jul 01, 2012 7:09 pm

Satyr wrote:




I'm really interested in the Joker's maxim of "Why so serious."

What does it really mean? Does it imply that humanity is bent on being anything but passionate or that we live in an age where obedience is the ultimate value?

Maybe, someone else can tell me more about it. Smile
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PostSubject: Re: Movie Scenes Sun Jul 01, 2012 8:57 pm

This is really a music video, but for some reason it is hard to find good clips of Hannibal Lectors movies on you tube. i dont know why, it's like one of the best series ever. But whatever.

This is a good montage of him and will.

In Red Dragon, i like when Will meets Hannibal in the prison and they are walking together when he is chained. And what stands out to me is what Hannibal says to Will: "You sensed who i was back when i was committing what you call my "crimes"."

Meaning that his "crimes" were considered crimes not because they were, but because they went against the law and the sheep. I think in many ways, Will is open to considering this and his place as an "upholder of law", because he respects Hannibal's thoughts and there is even a sense that he doubts his own place as a cop.


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PostSubject: Re: Movie Scenes Mon Jul 02, 2012 9:15 am

Third-eye wrote:
I'm really interested in the Joker's maxim of "Why so serious."

What does it really mean? Does it imply that humanity is bent on being anything but passionate or that we live in an age where obedience is the ultimate value?

Maybe, someone else can tell me more about it.
The ultimate nihilistic phrase exemplifying the meaninglessness of existence.

The other side of the tragedy coin....comedy.
Dionysian laughter in the face of Apollo's beautiful order; the mockery of those in authority; laughing against those with power; a feminine scoffing before masculinity.

Chaos for its own sake; chaos desired by those with the least to lose; the meek avenging themselves against those who oppress them and remind them of what and who they are.

---------------------

Third-eye wrote:
In
Red Dragon, i like when Will meets Hannibal in the prison and they are
walking together when he is chained. And what stands out to me is what
Hannibal says to Will: "You sensed who i was back when i was committing
what you call my "crimes"."

Meaning that his "crimes" were
considered crimes not because they were, but because they went against
the law and the sheep. I think in many ways, Will is open to
considering this and his place as an "upholder of law", because he
respects Hannibal's thoughts and there is even a sense that he doubts
his own place as a cop.
this is a theme that runs across all the Hannibal movies.

With Sterling it take son a sexual undertone.
She is "like" Lecter but she serves those she does not respect nor is appreciated by because of a misdirected sense of loyalty or an identification with the herd.

Will, and then Sterling, are buried within Judeo-Christian morality or modernity's meme.
They can catch Lecter because they can empathize; they being as he is, only to a lesser degree and indoctrinated.

Lecter wishes to "free" them from their chains with these innuendos.

"How did you catch me?" he asks Will.
With Sterling it's about releasing her from her father's memory; from her father's morality.




----------------------------

Recidivist wrote:
Not a film clip, but a trailer. A sheltered retard goes off to save nature... and gets what he deserves.



Now here is an example of a classic liberal moron.
The bears have become a projection of his own naive simplicity.

Nature can do no harm to kindness, to love, these imbeciles tell themselves and are constantly reminded of their own error....but they never learn.
Faith has an inborn defensive mechanism against anything that exceeds its premises.

Take these anarchists....a branch of the same mindset.
In an anarchists mind the chaos, the coldness of nature is denied or it is embraced as a death-wish.
When it is denied it take son the form of idealism where the coming anarchy can only result in their ascent.

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PostSubject: Re: Movie Scenes Tue Jul 03, 2012 1:57 am

Satyr wrote:
this is a theme that runs across all the Hannibal movies.

With Sterling it take son a sexual undertone.
She is "like" Lecter but she serves those she does not respect nor is appreciated by because of a misdirected sense of loyalty or an identification with the herd.

Will, and then Sterling, are buried within Judeo-Christian morality or modernity's meme.
They can catch Lecter because they can empathize; they being as he is, only to a lesser degree and indoctrinated.

Lecter wishes to "free" them from their chains with these innuendos.

"How did you catch me?" he asks Will.
With Sterling it's about releasing her from her father's memory; from her father's morality.

But maybe he cant free them.
what i don't understand, is why doesn't Hannibal either kill her or forget about her?
For example, Lector tells Clarisse that she loves the FBI bureau almost more than the "husband and children that she gave up to it". Meaning that she hates her past and her own identity and her own life so much that she has chosen to completely immerse herself in mindless success in a career and service to authority and recognition because she has nothing else inside of her to nurture.

In other words, she is a total lost cause even if she is a little like Hannibal, like you said. She is too far gone. She can't be changed. Doesn't Hannibal realize this? So he would be better off just eating her, rather than continue to suffer her stupid stubborn attempts at catching him for the FBI. Like the way she pathetically tries over and over again to hit him or gain some advantage over him to arrest him when they are eating at the dinner table. It's like she is so blindly loyal to social justice, that she doesn't even understand WHY she even wants to catch him. She's just giving into conditioned reactions from her faith in law enforcement.

I mean he chops off his own hand for her. i probably would have just killed her, and THEN cut off my hand. lol

I guess what im saying is that, even if Will and Clarisse are special to him, they are still nothing more than servants of authority.


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PostSubject: Re: Movie Scenes Tue Jul 03, 2012 2:03 am



One of my all time favorite scenes.

Very Happy
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PostSubject: Re: Movie Scenes Tue Jul 03, 2012 5:50 am

I do not remember which, but one of Third-Eye's videos led me to a clip from Troy where Hector ends up fighting Achilles.



The woman towards the end cries only for the death of that which she's invested her life in. Would she grant the same grievance if Achilles was killed? No and in fact she may have even celebrated it. What isn't seen is just before when she pleaded with Hector to stay but it fell upon deaf ears, which she should've known the moment she first witnessed his noble spirit.
The intended harrowing feeling that was brought from the scene of Hector's death could only be justified in two ways:
1) If Hector's youth had not fully granted him the potential he'd otherwise have to defeat Achilles.
2) If Achilles was not meant to be of the natural realm and was given a divine (artificial) power which he would not pass on to another but instead were to only destroy what man has created and leaves no order or unity which could continue humanity's resistance to entropy.

The latter is certainly possible. Indeed, as true to the mythology, Achilles did not see himself as Hector's equal but less so. We can see this when he makes a distinction between Hector as man and Achilles as a lion. For Achilles, his genes did not grant him this power to destroy the man, but a supernatural event that would be likely unreproducible for his lineage.

Granted with this supernatural power, Achilles does not see to reason with Hector that he might forgive him for his foolish mistake (which he regretted) but instead, empowered, he holds on to the idea that Hector intended the death of the boy he confused with Achilles. I suspect this rationalization came from an inability for Achilles to cope with the responsibility he knows deep down lies with himself that the younger died. Without this rationalization, he might have to explore the reasons why he felt so attached to the younger one and that this hatred consumes him. Instead, he kills Hector and tells himself that the issue has been fully settled.
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PostSubject: Re: Movie Scenes Tue Jul 03, 2012 9:15 am

Third-eye wrote:


But maybe he cant free them.
what i don't understand, is why doesn't Hannibal either kill her or forget about her?
Perhaps it's because you've bought into Lecter's inhumanity.
He is the most human person in the movie; the most noble spirit.

He kills to rid the world of what confronts his aesthetic tastes; he cleanses the world of garbage.


But he is lonely, as he is rare.

With Will he sees a kindred spirit which he exceeds but that reminds him of himself.
He tells Will this so as to gain an advantage by flustering him.

With Clarisse there's the sexual element. With her he senses potential; a mate.

Third-eye wrote:
For example, Lector tells Clarisse that she loves the FBI bureau almost more than the "husband and children that she gave up to it". Meaning that she hates her past and her own identity and her own life so much that she has chosen to completely immerse herself in mindless success in a career and service to authority and recognition because she has nothing else inside of her to nurture.
She's institutionalized.

Third-eye wrote:
In other words, she is a total lost cause even if she is a little like Hannibal, like you said. She is too far gone. She can't be changed. Doesn't Hannibal realize this?
You should read the books rather than going by the Hollywood ending they provided for you.
In the movie they give it a twist which returns you to the social conventions: evil pays a price; it is maimed, unloved, defeated, though he escapes.

In Harris' books the ending is very different.
Hannibal does not only not lose a hand but Clarisse runs away with him to South America.
The black orderly bumps into him in an opera house in Argentina where he has gone for his honeymoon, which he's combined with his quet to see all of Vermeer's works.

He sees Hannibal from behind and hides....pulling his wife out of the opera house and away.
He knows that if Hannibal sees him and Sterling - because she is there next to Lecter - he is as good as dead.

Third-eye wrote:
I mean he chops off his own hand for her. i probably would have just killed her, and THEN cut off my hand. lol
See, this is where Hollywood steps in to sell you the cultural lie.

Third-eye wrote:
I guess what im saying is that, even if Will and Clarisse are special to him, they are still nothing more than servants of authority.
Will, yes...but with him Lecter is not interested in freeing him from servitude. He only wishes to take him off his game by reminding him that, despite himself, he is far more animistic than he would like to believe.

With Sterling it is sexual.
He wants to be her father figure, with Freudian undertones.
She has lost her father to the "job". She is becoming dissilusioned by the F.B.I.'s practices.
She feels more similar to Hannibal than her own fellow officers.

They try to scapegoat her...and she turns on them.
In the book she runs off with Hannibal.

Fuck the Hollywood ending.
That's part of the brainwashing.

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PostSubject: Re: Movie Scenes Tue Jul 03, 2012 9:37 am

Slaughtz wrote:

The woman towards the end cries only for the death of that which she's invested her life in. Would she grant the same grievance if Achilles was killed? No and in fact she may have even celebrated it. What isn't seen is just before when she pleaded with Hector to stay but it fell upon deaf ears, which she should've known the moment she first witnessed his noble spirit.
The intended harrowing feeling that was brought from the scene of Hector's death could only be justified in two ways:
1) If Hector's youth had not fully granted him the potential he'd otherwise have to defeat Achilles.
2) If Achilles was not meant to be of the natural realm and was given a divine (artificial) power which he would not pass on to another but instead were to only destroy what man has created and leaves no order or unity which could continue humanity's resistance to entropy.

The latter is certainly possible. Indeed, as true to the mythology, Achilles did not see himself as Hector's equal but less so. We can see this when he makes a distinction between Hector as man and Achilles as a lion. For Achilles, his genes did not grant him this power to destroy the man, but a supernatural event that would be likely unreproducible for his lineage.

Granted with this supernatural power, Achilles does not see to reason with Hector that he might forgive him for his foolish mistake (which he regretted) but instead, empowered, he holds on to the idea that Hector intended the death of the boy he confused with Achilles. I suspect this rationalization came from an inability for Achilles to cope with the responsibility he knows deep down lies with himself that the younger died. Without this rationalization, he might have to explore the reasons why he felt so attached to the younger one and that this hatred consumes him. Instead, he kills Hector and tells himself that the issue has been fully settled.
Excellent.

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PostSubject: Re: Movie Scenes Sun Jul 08, 2012 7:21 pm



I think it's interesting that John Doe chose Mills for his mission to exemplify human evil. He knew Mills had a tendency to go against his beliefs as a cop and give into his nature. He knew who Mills was on a personal level, and he knew his simple-mindedness was a mark of his instinctual proclivities.

He saw this is Mills, and thats why he chose not to kill him earlier in the movie. But the message here is that most people are simple-minded and give into their nature and go against everything they believe in for some kind of instantaneous gratification or another, and that the "7 deadly sins" are just superficial labels that religion sticks on human nature for just being what it is.

John Doe actually mocks the superstition of these sins, by using people he knew would succumb to them.

If God tests human beings in good and evil situations, than John Doe is doing the same thing. He considers himself God in a way. Maybe this is why he says "The Lord works in mysterious ways".

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PostSubject: Re: Movie Scenes Thu Jul 19, 2012 9:35 am

.

.

.

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PostSubject: Re: Movie Scenes Thu Jul 19, 2012 5:47 pm

I really enjoyed Shawshank Redemption as well. Looking at these scenes again from a different perspective, I had some thoughts on its message.

It looks like they're selling the idea that justice will come if you are 'good' and if you are 'bad.' It sells that even the wardens get in trouble, which in reality they never do. Likewise, in reality, barely anyone ever escapes from prison. The way I was interpreting it was that if you are truly innocent and good (deserving) then you will be 'blessed' with a way out (i.e. Morgan talking about how his wings were too 'colorful' to be kept in jail.)

There's many other nihilistic messages in just those clips alone. Of course, they are just bits of a larger and more obvious story about the spectacular.

Wardens know there is a 1 in a million chance this happens, so I imagine any warden watching this film that participates in the same behaviors would find it hilarious.
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PostSubject: Re: Movie Scenes Fri Aug 10, 2012 3:49 pm

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PostSubject: Re: Movie Scenes Sat Aug 25, 2012 7:13 am

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PostSubject: Re: Movie Scenes Sat Sep 08, 2012 5:37 am

A favorite scene from one of my favorite movies, "Perfume" The Story of a Murderer.



Not even his superhuman smell could save him from the void.

I would love to digest this film and this scene, but I haven't the courage, discipline or intellect now to do so. And I may never.
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PostSubject: Re: Movie Scenes Sat Sep 08, 2012 8:40 pm

Why do you like it so much?
Be honest.
What about this movie and that scene touches you?

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PostSubject: Re: Movie Scenes Sat Sep 08, 2012 9:03 pm

Satyr wrote:
Why do you like it so much?
Be honest.
What about this movie and that scene touches you?

I wondered that myself and found that I perhaps felt some sort of sadistic pleasure seeing it, seeing someone experience the misery I fashion myself to. As for the movie, it speaks about
Spoiler:
 
I think the boy in the film hates his life. Thinking any deeper about it, what it says about me, is difficult for me.
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PostSubject: Re: Movie Scenes Sun Sep 09, 2012 6:08 am

My favourite film is Natural Born Killers. Here are a few scenes with Tommy Lee Jones who plays Dwight McClusky.
I really like him in this film.




and a few scenes from other films:





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PostSubject: Re: Movie Scenes Mon Sep 10, 2012 4:58 pm


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PostSubject: Re: Movie Scenes Wed Sep 12, 2012 6:22 am

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PostSubject: Re: Movie Scenes Mon Sep 17, 2012 10:56 pm





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PostSubject: Re: Movie Scenes Mon Sep 24, 2012 6:53 am

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PostSubject: Re: Movie Scenes Mon Oct 22, 2012 12:31 pm



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PostSubject: Re: Movie Scenes Tue Oct 30, 2012 6:05 pm

The Matrix Trilogy
The Matrix – The Matrix: Reloaded - The Matrix: Revolutions

The symbolism of The Matrix Trilogy is rich with implications. The movie is strewn with philosophical insinuations, connecting multiple ideas into a web, a matrix, of fast paced innuendoes.
The heroes find themselves in a world populated by the sleeping multitudes, the zombies, who have no clue and remain outside the premises and the activities that will unfold. They are the ones who must be “saved” in the name of humanity.
Relating the awakened ones with a kind of underground world, conveniently named Zion, with a distinctly hippie sexual undertone governed by a political system founded on modernistic principles of gender and race equality, and positing a machine-world, represented by Caucasian, stiff-necks, as the antagonist the audience is lead through action-packed sequences subliminally infecting his mind with metaphors.


The Matrix Trilogy is a good example of how social engineering is accomplished by using symbolism. In the movie the underground lair of humanity, fighting against the hive machine world, is called Zion. The relation with Zionism would not be taken to be accidental. It is with these subtle, yet obvious, methods, compounded through many forms and through the years that produce a lasting effect in the minds of the audiences. Next time they hear the word “Zionist” or Zionism” they will be positively inclined towards it, as it has been connects, on a conscious and subconscious level with a “humanistic” element battling against the forces of evil and destruction.



From the Matrix Trilogy movies: The Matrix:
Morpheus: We are trained in this world to accept only what is rational and logical. Have you ever wondered why?
Morpheus: As children, we do not separate the possible from the impossible which is why the younger a mind is the easier it is to free while a mind like yours can be very difficult.
Neo: Free from what?
Morpheus: From the Matrix.
Morpheus: Do you want to know what it is, Neo?
Morpheus: It's that feeling you have had all your life.
That feeling that something was wrong with the world. You don't know what it is but it's there, like a splinter in your mind, driving you mad, driving you to me.
But what is it?
Morpheus: The Matrix is everywhere, it's all around us, here even in this room. You can see it out your window, 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.
Neo: What truth?
Morpheus: That you are a slave, Neo. That you, like everyone else, was born into bondage... kept inside a prison that you cannot smell, taste, or touch.
A prison for your mind.


In this scene the malleability of what can be considered “rational” is exposed as being nothing more than a result of training the mind to think within particular parameters.
Because the brain is attracted to order, to patterns, in a world/reality which is tumbling towards chaos, these patterns can be controlled and manufactured within environments that selectively exclude what contradicts them.
This is the simulation Baudrillard refers to.
A selective choosing of patterns so as to raise/train a mind to only think within those premises, directing its judgments and choices. All the while, the individual is convinced it is free and that its actions are not externally determined when it is offered choices, chosen by others, and it is placed in dilemmas, forcing choices, which others manufacture.

In this scene the “impossible” is presented not as the irrational but as that which has been denied to the mind as a consideration, expanding tis sense of what is rational.
The idea is introduced, of a mind-prison, made-up of social and cultural walls, presented by one of the methods used to imprison the mind with them.
The prisoner is convinced that he is “outside” the prison, when, in fact, he is within it; the salve is made to feel free, making him his own imprisoner – a self-correcting mechanism, where no physical force is necessary once mental force has had an effect.



Morpheus: The Matrix is a system, Neo. That system is our enemy. But when you're inside, you look around, what do you see?
Businessmen, teachers, lawyers, carpenters.
The very minds of the people we are trying to save. But until we do, these people are still a part of that system and that makes them our enemy.
You have to understand, most of these people are not ready to be unplugged.
And many of them are so inert, so hopelessly dependent on the system that they will fight to protect it.


The Christian ethos is obvious here.
The entire movie is a polemic on “the system” but all the while it is merely a venting device; a wink at the growing discontentment, the increasing awareness, feeding it what it is beginning to suspect to undermine it by caricaturing it – turning it into a child’s fairy-tale; a two hour escape that has nothing to do with “real life”.
At the same time it casually injects the narrative with a desirable outlook.
The “free” ones, the newly awakened noes, are supposed to want to free all mankind from the dreaded machinery of the Matrix.
Humanism, Marxism, Judeo-Christianity, a part of the Matrix itself, finds a way of presenting itself as the rebellious underlying ethos.
The liberated, for some reason, must risk their newfound liberty in order to free all the “sleepers” – those who will oppose and hate them. The martyr struggles to offer salvation to “all,” no matter if they deserve it or not or if you know them or not.
The idea that humanity is one united body towards which we are all dedicated and for which we all fight, is the theme that returns the audience back to the matrices it has begun to become aware of and is now questioning.

The rebellious humans, in the context of the film’s storyline, should expose themselves to the possibility of being discovered and destroyed, over and over again, because their morals and their self-identities are still enslaved to the Matrix’s power.
Instead of taking advantage of the simulated environment within which the liberated ones can act as demi-gods amongst bugs, they are urged to think of freeing mankind as being so obvious as to not even require a justification.
Humanity is not something to be overcome but returned to, surrendered to.

The system now uses a clever ploy to feed into disillusionment and the still functioning indoctrination to guide those who are starting to see – and seeing is the first stage in awakening – back towards the earlier slumber…and the infinitely repeating cycles. At the very moment when the freed individuals acquire an opportunity to be more than robots, batteries powering a system that puts them into a state of narcosis from birth, is the moment the Matrix, via this movie, enters the scene to expunge it and extinguish it.
It is ironic, if not expected, that the very system, the real one, indoctrinating, and exploiting, and brainwashing would be the one that uses these “artistic” avenues to take what awareness germinates, and redirect it back towards its own institutionalizing fabrications.



Smith: Can you hear me, Morpheus?
I am going to be honest with you.
I... hate... this place, this zoo, this prison, this reality—whatever you want to call it, I can't stand it any longer.
It's the smell, if there is such a thing. I feel saturated by it. I can taste your stink. And every time I do, I fear that I've somehow been infected by it; it's repulsive, isn't it?
I must get out of here.
I must get free.
And in this mind is the key, my key.
Once Zion is destroyed there is no reason for me to be here, do you understand?!
I need the codes, I have to get inside Zion, and you have to tell me how.
You are going to tell me or you are going to die.


The oppressing mechanism feigns camaraderie.
Both he, this mechanism, and Morpheus, the other mechanism, are in agreement – they both hate the system they serve and are a part of; the master/slave unity is established.
Both wish to be free from the system they serve by wanting to be free from it.
It is their shared desire to destroy this artificial environment which makes them the perfect agents for its preservation.
The concept of an “outside” the “zoo” is implied: some utopian world, conveniently called “Zion.”
The double-negative, the passive aggression, the reverse psychology, is saturating the scene with nihilistic reversals. What is “outside” the artifice of the Matrix, in this liberated state is, in fact, what binds the mind to it.
Freedom is offered, as a possibility, but it is offered with a word deeply connected to an idea that produces slavishness in the real-world.



The Matrix: Reloaded:
Neo: You believe in karma?
Rama-Kandra: Karma's a word. Like "love."
A way of saying "what I am here to do."
I do not resent my karma - I'm grateful for it.
Grateful for my wonderful wife, for my beautiful daughter.
They are gifts. And so I do what I must do to honor the them.


Here the idea of “karma” is used to bind.
Karma is nothing more than reputation. To be bound to the community of judgments.
“Bad karma” is what follows when you piss-off a majority, not adhering to the popular ethics and modes of behaving and thinking; “good karma” is when you’ve remained “positive” to the majority who see in you a reflection of themselves and a reaffirmation of their own enslavement to the judgments of the whole.
Neo, at this point, is still free from it. But this character reintroduces him to what he is trying to remain indifferent to; he does so by connecting it to that other word denoting surrender to otherness: love.
Another example of the cleverness of the film’s metaphors; it pretends to be rebellious and of airing a truth only a few are waking up to, yet it is nothing more than a method of subjugating this awakening to the very ideas that inebriate it.

The insinuation is telling: the character has been given the right to procreate and to have a sexual partner by a system he now must be grateful towards, surrendering to it so as to honor it.
He, this program within a program, does not “resent” its karma….in other words it does not resent its dependence on the community that provides for it a possibility it could not guarantee for itself. Its comfort, its ease, its certainty, must be honored with gratitude; gratitude expressed by servitude.
Neo is being turned into a messiah for the disillusioned: the one, the new (νεο).
He offers salvation form uncertainty, form the cold, cruel world of nature, by returning these “black sheep” back to the herd. Neo is gradually turned into a shepherd of complacency and surrender.
The entire film I an agent of surrender, masking as a dissident promoting freedom. It is a method of insult, shaming the “loser” who takes it seriously, into silence (self-censorship).



The Architect: Hello, Neo.
Neo: Who are you?
The Architect: I am the Architect. I created the Matrix.
I have been waiting for you. You have many questions and though the process has altered your consciousness, you remain irrevocably human. Ergo, some of my answers you will understand, some you will not. Concordantly, while your first question may be the most pertinent, you may or may not realize, it is also the most irrelevant.
Neo: Why am I here?
The Architect: Your life is the sum of the remainder of an unbalanced equation inherent to the programming of the Matrix. You are the eventuality 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 of control, which has led you, inexorably, here.
Neo: You haven't answered my question.
The Architect: Quite right. ...Interesting, that was quicker than the others. The Matrix is older than you know. I prefer counting from the emergence of one integral anomaly to the emergence of the next, in which case this is the sixth version.
Neo: There are only two possible explanations: either no one told me, or no one knows.
The Architect: Precisely. As you are undoubtedly gathering, the anomaly is systemic, creating fluctuations in even the most simplistic equations.
Neo: ... Choice. The problem is choice.

The Architect exposes the real problem to Neo, while at the same time offering him a limited possibility. He establishes the context within which this “problem of choice” can be dealt with.
There are only two options.
The number is not accidental.
Two, is binary, dualistic, and coincidentally, the number of parties available to the U.S. electorate. A number quickly becoming an international standard of bipolar thinking: right/left.

In this way the film, through the Architect, uses honesty to disarm and then to impose the boundaries within which the “liberated” can express their liberty.
The two choices, which are really one, are presented thusly:
Save Zion, mankind…..or save the female, the attachment to the concept of mankind.
No other option is made available.
In both cases “love” is the ingredient that binds.
The concept of mankind is never challenged. It is offered as a de facto, self-evident, source of identification. One either comes to it through an abstraction, this Zion, or through a personification, a far simpler, immediate, connection, the female Trinity.
She even bares the label of Christian pseudo-complexity: the Father, the Son and the Holy Ghost; the triadastic singularity.
Multiplicity reduced to monism.

The question as to who the Architect is is called “irrelevant,” because it is the most pertinent question of all. A casual dismissal that passes unnoticed once the options are presented and imagery floods the mind of the audience member.
The Architect is, to use another caricature from human story-telling, the Wizard of Oz (the White Rabbit reference is not accidental); he is, it is, the invisible hand, the man/men, behind the curtain, pulling the levers, funding this film; he/it is the conspiracy theorists unknown, infinitely mysterious and, for this reason, apt to be defined in ways that would make any real exploration easily mocked.

The “anomaly” mentioned is the Flux.
That it is still predictable and controllable is an indication of human innovations and understanding of animal behavior. The “fluctuations in even the most simplistic equations” is an allusion to (inter)activity.
The “anomaly” is the world itself. The Architect is nothing more than one, amongst many, offering a variant of order; a control program.
His problem is not only Neo but the Flux itself, which makes control problematic. Neo, like all of the participants, are manifestations of this “anomaly”.
The Architect follows through with a display of his control and understanding by limiting the “problem” of choice to only two possibilities. The concession he/it makes is in expanding the one outcome into two paths, two “choices” leading to the, desired, singular end.
In this way the storyline leads to the expected conclusion, which is but a beginning in a new cycle. The story will be played out again…and again… and the outcome will be the same. A “new” Neo will be awaked, resulting in the same outcome, if the Architect retains dominance over all the other programmes; Neo’s name is sarcastic, the real world architects thumbing their noses at the audience, behind the curtains of plausible deniability.
Neo is nothing new…he is expected, he is old, and he is one of many. This is why Morpheus, the dreamer, dreams him with such clarity. Morpheus has seen Neo in himself; he was a potential messiah, and not a prophet, lacking the courage of ignorance or the bravery of fanaticism and simplicity.
It is Neo’s combination of childish naiveté and ignorant courage that makes him “the one”.
The Architect proves to be a master of this game. His/Its control/power is expressed in repeating the cycle in a predictable manner. The cycle is the illusion of freedom when the ending is already determined by knowing the participants – as this is shown by the names they carry as monikers of self-consciousness – and by limiting the choices.



Dealing with the Stragglers

The Matrix: Revolutions:
Smith: Why, Mr. Anderson, why, why?
Why do you do it?
Why get up?
Why keep fighting?
Do you believe you're fighting for something, for more than your survival?
Can you tell me what it is? Do you even know?
Is it freedom?
Or truth?
Perhaps peace?
Could it be for love?
Illusions, Mr. Anderson, vagaries of perception!
Temporary constructs of a feeble human intellect trying desperately to justify an existence that is without meaning or purpose!
And all of them as artificial as the Matrix itself, although, only a human mind could create something as insipid as love!
You must be able to see it, Mr. Anderson, you must know it by now, you can't win! It's pointless to keep fighting! Why, Mr. Anderson, why?!
Why do you persist?!
Neo: Because I choose to.


In this scene what remains of dissilusionment and resistant awareness, is delt with, with a heavy dose of nihilism; a severe slap in the face of resistance to the real Matrix this film is a part of:
“Why?”
Why suffer, why endure, why resist, why fight?
Fatigue is used as a weapon.
This is the closest this propaganda film comes to honesty. A bow to this “anomaly” that makes this antagonistic masculinity emerge in the entropy.
Agent Smith goes through the litany of nihilism, trying to break down what remains of resistance, in the audience, that still sees in Neo a hero, a pop-icon, he vicariously identifies with.
Agent Smith has been freed, by being exposed to this Judeo-Christian agency of Neo, the reborn messiah of servitude, from the Architects control. Now he wishes to construct his own Matrix, made up of clones, copies, of himself – an allusion to Marxism. His examination of Neo’s motives could have been carried out by the architect if he/it were not more aware of the issue at hand. Agent Smith’s ignorance represents the ignorance of Communism’s Ideal in regards to human nature; and explains its inevitable failures.
Neo’s reply is spartan, but not illuminating, particularly when one considers the entire film and how regulated his options have been.
His “choice,” means little.

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