Pattern variation II
NEO AND THE ORACLE
The surface contains more or less obvious hints of the hidden. This principle runs through the Matrix on all levels. As in the example “packets for Neo” some more obvious similarities pointed to many hidden ones, Revolutions contains many obvious hints at the beginning of the basic concept of pattern variation.
The beginning of Revolutions consists of a series of variations with increasing degrees of optical similarity. Some of the scenes provoke a strong feeling of familiarity even on the first viewing.
At first, the déjà vus appear only briefly.
The saving train
◄ A jump saves Neo from the approaching train. This is followed by the agent pursuing Neo.
► A jump in front of the approaching train saves the trainman. It ends the pursuit of the trainman by the rebel.
◄ & ► During their attempt to save Neo, the rebels cross the Adams Bridge at night.
Fight in the lobby
The fight in the lobby of the Hel Club certainly reminded every viewer of the fight in the lobby during the first film. It is not without irony that the negative reflection is realised via the obvious swapping of above and below. When viewed more closely, each scene of the fight in the lobby of the Hel Club is a variation on the battle in the lobby in the first film. Some selected examples:
The trip to the Oracle
In the first 15 minutes, Revolutions runs through a process of mutation: The continuation of the original is transformed more and more into the original itself. The reflections become more and more obvious until they end in an almost identical scene (including the music).
The same images are shown not just in the foreground but in the background as well! In the first of the two sequences with Neo, the rebels are driving down the same street on which the same people in the same clothes are moving in the same way and where the same cars are parked on the side.
Matrix is pattern variation!
This scene is the one unique clue! For a moment, the threads in Matrix and Revolutions not only run in parallel on the hidden level, but cross on the surface: The invisible becomes visible, the substructure becomes visible at the surface!
Both with regard to the production and to the structure applies to this scene:
In the background, the same film is playing!
Neo at the Oracle
In spite of important differences with regard to the plot, the tendency toward similar scenes continues:
◄ & ► Neo enters the Oracle’s kitchen.
◄ The motion of the Oracle’s hands indicates that she has been waiting for Neo and knows that he is standing at the door.
► The motion of the Oracle’s hands indicates that she has not been waiting for Neo. She hasn’t yet noticed that he is standing at the door.
◄ The Oracle turns around, knowingly.
► The Oracle looks up, surprised.
◄ The Oracle moves towards the window and puts down the done biscuits.
► The Oracle moves towards the window and puts the mixing spoon into the sink.
◄ The Oracle removes her hands from the dishrag.
► The Oracle wraps her hands in a dishrag.
◄ The Oracle reaches for a cigarette.
► The Oracle reaches for a piece of candy.
◄ The Oracle offers Neo a biscuit. Neo accepts hesitantly.
► The Oracle offers Neo a piece of candy. Neo declines firmly.
◄ & ► The Oracle moves to her chair, chatting while doing so ...
…smokes a cigarette there …
… has a conversation with Neo …
… during which she points to the sign over the door …
… at which Neo turns around, knowing what to do.
Conceptually, the first 10-15 minutes in the sequels lay out the overarching concept of the film in question. In a work built around pattern variations, the question of the concept of each part is just as important as the question of its relationship to its predecessors. Reloaded is the antithesis of Matrix. The same contents are shown from a completely opposite perspective and also interpreted and valued oppositely. Correspondingly, the first ten minutes of Reloaded is a reference to things which have gone before, but also always a negative reflection. Revolutions, in contrast, confirms the initial thesis of Matrix in contrast to the antithesis of Reloaded (and moves it to a higher plane). In a certain sense, Revolutions is Matrix. Thus, the first ten minutes show the mutation of a new film into one which is already familiar.
If the second film was more precisely not a sequel but rather a nested repetition of the first, then the third doesn’t really make any progress. Rather it returns again to its beginning – via progressive repetition – which can indeed cause a feeling of frustration: