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I'm often startled at how culturally significant the Matrix has been. The sequels weren't all that good, the plot of the original was strange and confusing, and the concept of "the world is revealed to be an illusion" has been done better -- but the concept of the colored pills, bullet time, and Laurence Fishburne's performance as Morpheus just made the movie hard to forget. The strange aesthetic made it both confusing and memorable. (Sometimes I think the flaws of Star Wars did the same -- both the OT and the prequels have diehard fans precisely because they were tacky and disjointed. The sequels are so polished, but they're polished like a turd.)
The Matrix definitely sticks out in my memory, but personally I'd rather everyone take the Christpill from Catholic Morpheus.
At the risk of spoiling the works in question for myself, which works are you thinking of?
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Reminds me of Umberto Eco's Cult of the Imperfect. He applies the idea even to acknowledged masterpieces - one of the reasons why Hamlet, for instance, has been so compelling is because it is in some ways badly written. Lakes of ink have been spilled on trying to interpret Hamlet's motives because they are not clear in the play - because they are actually rather arbitrary and inconsistent, in a way that would probably strike us as bad writing, if Shakespeare did not have the reputation that he does. And while you could just conclude it's because Shakespeare was rushed or made some bad calls, it's so much more interesting to treat the text as whole, the arbitrariness as intentional, and dive into psychoanalysing the hero.
Star Wars is also in that golden zone of imperfection, I think. Even in the OT, the films are frequently disjointed, and characterisation changes wildly without explanation. It's pretty obvious that ANH is written for a universe in which Luke's father and Darth Vader were different people, and Luke and Leia are not related, for instance. In ESB, Luke hates and fears Vader and wants to kill him, and Vader disloyally seeks an ally to stage a coup against the Emperor; in RotJ, without any explanation, Luke now regards Vader with this self-sacrificial love, and Vader is so broken upon the Emperor's will as to consider revolt impossible. It's not inconceivable that something happened in between the films to cause both of them to change their minds (maybe Luke struggled long and hard with the revelation that Vader was his father and eventually came to the painful conclusion that he must love him the same way he thought he loved Anakin; maybe the Emperor discovered Vader's plot and tortured him into submission), but there is no hint of either of these processes in RotJ. The characters are just... different.
And yet I can't make himself dislike Star Wars because of this, or view the OT as lesser. I even like the PT. I still love those films, all six of them. (There are only six Star Wars films.) In many ways I love Star Wars because of its flaws, not only because of its strengths.
The Shadows of the Empire book does a lot of the heavy lifting, at least in the old Legends continuity, explaining not just Luke (Jedi training and seeing the cost of seeking revenge above all) and Vader's (finding the Dark Side increasingly unable to repair or alleviate his damaged flesh, and that Palpatine is grooming people to kill Vader's whole family... and thinks Vader's so weak that a crime lord that's not even force-sensitive might take him down) change in perspective, along with a lot of other goofy bits like Leia's Booush outfit or where Luke's new lightsaber crystal came from. Kinda with mixed results: it's definitely not a Zahn-level book, and a few parts were pretty cringy even by 90s-standards, but neither was it awful.
Of course, it did so twelve years after Return of the Jedi made it to theatres.
Eco's theory is certainly believable. For other examples, Harry Potter and Redwall fandom regularly points to the many bizarre early storytelling decisions as why they joined as heavily as they did. I will caveat that it's definitely not sufficient, though. Jupiter Ascending is a glorious trainwreck that leaves unanswered questions everywhere, but despite a small fandom of exactly the demographics you'd most expect to be into fanfic, it's largely abandoned.
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I think it'll be hard to explain to the next generation, but the effects in The Matrix were absurdly groundbreaking. But they also were groundbreaking enough that pretty much any movie with a VFX sequence will copy some of its visual language. If you've seen a bunch of modern action movies, though, and then watch The Matrix, you're going to feel that a lot of it is just playing to standard visual tropes that have been done well, maybe even better, in lots of movies. But the thing is, most of those were new in 1999, and you won't appreciate it unless you can compare it to the zeitgeist of 1998 cinema -- without a lot of effort, you really have to have been there.
I'd compare it to The Beatles: I wasn't around when the originals were published, and I find it hard to appreciate the novelty that my older friends and relatives attribute to them because very few features in their catalog haven't been done better (and with better recording and mastering) by other artists since.
The Seinfeld is Unfunny effect.
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A lot of people have pointed to 1999 as being a high-water mark for mainstream American cinema. It's remarkable to think what a widespread influence on Western Anglo culture two concepts from movies released that year had (taking the red pill from The Matrix, "beautiful and unique snowflake" from Fight Club), and how durable their staying power was. A quarter-century after the film's release, you can use the phrase "taking the red pill" in conversation with a group of Anglophones of varying socioeconomic backgrounds and income levels, and reasonably assume that they'll understand the metaphor and that it won't seem dated or clichéd, even if they haven't seen the movie from which it originated. ("Snowflake" will be understood by most audiences, but won't have the desired effect, after years of conservative commentators beating it like a dead horse.) In this regard (that even most people who haven't seen the movie have a passing familiarity with at least one of its key images/concepts), The Matrix is right up there with 1984 in terms of its cultural penetration. The Matrix was a true four-quadrant movie, equally appealing to fans of action movies, sci-fi nerds, philosophy eggheads, undergraduate Buddhists, spiritualists and weeaboos. In today's era of disposable pop culture, where Marvel Studios are delighted if people are still sharing GIFs of their latest capeshit instalment so much as one year after release, that kind of durable cross-demographic cultural staying power is hard to even wrap your head around. Nothing from the current decade of cinema seems likely to equal it: offhand, the only movie from the last decade which might is Joker* (and I think that film's star has well and truly fallen after its disastrous sequel); from the decade before, The Dark Knight.
*I was tempted to say Drive, but I have to remind myself that that film only made a tiny fraction of what The Matrix did: it's universally beloved in the circles in which I move, but not necessarily beyond that.
What was the home video market like in the US? Because, for us, The Matrix was one of the first DVDs we got which gave it even more staying power but we were generally a bit behind the West (especially on TV)
If you can only own a few you pick movies that are either classics, have good special features or really "popped" on screen.
Nowadays you can cycle through terabytes of movies at will (hell, even if you had no internet 6-in-1 DVDs are common in any random street market in Africa) and I don't know that anyone cares about the BTS stuff. You can't sit with a movie for months to years.
In 1999? 2000? Absolutely huge. Things were gearing up for the DVD transition, Disney was getting ready to do their old hat trick where they "take the classics out of the vault," basically every American home had shelves and shelves of tapes or disks, probably in an entertainment center.
It's definitely true that people had to be more selective in movie watching than they do now. But if you didn't have a copy of a movie you wanted to see, you went to Blockbuster and you rented it. Going to Blockbuster on Friday evening to rent a movie was a big tradition.
I do feel like a movie release was a big deal in the late 90s/2000s. Movie tie-ins were everywhere, movies would get websites where you could see trailers or character profiles, children's movies often had websites with games and movie-tie in games were widespread. A movie felt like an event that had ripple effects. I still remember when I was fairly young and Monsters, Inc. came out -- they had a huge website and a hunt-and-seek game where you would walk through the whole scare factory. That was cool enough that it cemented Monsters Inc as one of my favorite Pixar movies even all these years later.
The only times in the past 10 years where movies have felt like that are when The Force Awakens came out, and when Avengers: Endgame came out. But neither have really lasted in the public consciousness the way movies seemed to in the past. It feels a lot like the "extras" that companies used to put in for lots of products have fallen by the wayside. And websites are way less cool than they used to be.
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Dunno, didn't grow up there and don't live there. Funnily enough I have a feeling that The Matrix Revolutions was the last film I bought on VHS before the transition to DVD was completed.
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