Contrary to what one might think after yesterday’s post, introducing a new character is not necessarily a bad thing – some of the best aspects of Reloaded are due to the judicious interjection of a new character not simply as a diversion but as a central figure. The best new character has to be the Merovingian: Lambert Wilson steals the show in a manner reminiscent of Hugo Weaving’s work in the original as Agent Smith. Both had extended monologues and both delivered beautifully, creating characters that are simultaneously intriguing, charismatic and despicable. Not accidentally, both characters are also integral to the plot.
BTW have you noted how the Merovingian’s monologue on causality (cause and effect) in essence denies the very aspect of humanity -- freedom of choice -- that differentiates humans from the machines? He sees humans simply as very complex circuits that can be manipulated by the appropriate stimulus. He regards the Oracle’s insights into human psychology and the power of choice as just so much mumbo-jumbo intended to mystify her manipulative schemes. The Architect at least appreciates (to some degree) the insights of the Oracle into human nature, even if he does not understand them. The Merovingian, on the other hand, does not even appreciate them – he considers them as simply another power game (cloaked in words) used as a means for advancing the Oracle’s ambitions, as exemplified by her having replaced him within the hierarchy of extra-Matrix programs.
Another great character was the Keymaker – and this is true despite the fact that he doesn’t do too much, having been cast in a kind of “damsel in distress” role. Like so many other actors (Weaving, Fishburne, Foster) selected by the Wachowskis, the actor who played the Keymaker (Randall Duk Kim) not only has a great voice, but he knows precisely how to use it. The voice-over previewing and narrating the complicated assault on the Source was the tone perfectly. The Wachowskis’ appreciation of the power of voice-acting has been one of the overlooked strengths of the two films thus far.
I thought the Architect (Helmut Bakaitis) was a great addition as well, not only for his voice but the whole collection of mannerisms. Wasn’t his performance just the definition of intellectual smugness? The condescending tone, the mockery as he belittles Neo’s own estimation of his experiences (“The Oracle” “Please”), his precise command of jargon delivered with a fluidity and rapidity that makes your head spin – all these, combined with a certain, world-weary resignation etched upon his features as he delivers a machinegun series of earth-shattering revelations, combine to make the brief encounter with Neo the undoubted epicenter of the film. Hats off to the Wachowskis for having to nerve to make a scene composed of talking head the critical pivot of the film and to Bakaitis (and Reeves of course) for pulling it off.
Finally, how could anyone not have been intrigued by the Twins? Those two have to be the creepiest thing I’ve seen in film in quite a while. First off, they’re twins, which is always a bit disconcerting for all of us who have not shared that experience. Secondly they’re dreadlock wearing albinos – but albinos who can become disembodied at will! Finally, if all that were not weird enough, straight-edge razors are their weapons of choice – which seems all of a part with their sociopathic, narcissistic personalities(y?). And yet somehow they’re cool… Can’t wait to see more of them in Revolutions!
Of course the Matrix films wouldn’t be what they are without the consistently outstanding work of Fishburne, Reeves, Moss, and Weaving – not to mention the great job done in limited minutes by Pantaliano, Foster and Chong. While everyone recognizes (and rightfully so) the fantastic jobs done by Fishburne, Moss and Weaving, I can’t help but feel that Reeves doesn’t get enough credit. After seeing Reloaded it’s hard to remember how well Keanu nailed the hesitant, doubtfulness that any of us would have experienced in his position in the first flick, whether trying to get to the scaffold outside the skyscraper, attempting the jump program for the first time or convincing himself “there is no spoon” as he prepares to shoot the cable on the elevator on his way to save Morpheus. The second film shows us a different side of Neo, one that may no longer be entirely human – although he certainly is all too human, to the Councilor’s relief and the Architect’s resigned chagrin. I can’t help but wonder whether Reeves’ performance is not the result of a conscious directorial decision to subtly foreshadow what’s in store in Revolutions… well, we’ll know soon enough!
6:39:27 PM 
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