Such sceneries are very common now in many houses and internet cafes. Children and youth are spending most of their times playing computer games. While parents favor computers as necessities of modern age and as assistants for their children’s homework, children mostly consider them as toy boxes. They initially start with innocent intentions, but in time they lose their original purpose. “Uncontrolled use of computers,” the common problem of many parents, is also a matter very difficult to solve for the experts.

How do computer games affect the children’s subconscious and their future lives? Do games with positive effects have an appealing presentation?

Computer games can be grouped under two categories. First are the games that help developing talents, understanding the life experiments and ethical values by using an entertaining method; Second are the games that do not contribute anything to the child’s imagination and thinking abilities and inciting violent and immoral behavior. For the game to positively affect the child’s intellectual, physical and spiritual development depends upon both the content and the duration of the game. This period of playing time should neither be too short, nor too long. To be able to obtain a proper balance in this matter, we should first equip the child with an education of using the time wisely. Children wasting their time for useless activities, can also be insensitive to effective use of time when they grow up. Concisely, children must acquire the consciousness of valuing time. Wasted time in front of computers cause children and youth to get passive. This increases the stress experienced by the children. Especially in active boys, this inactiveness causes an energy accumulation which negatively affects the child’s behaviors. The use of excessive energy by ways of different sports is very useful for the physical and mental development and raising of a social conscious. Moreover, spending time in front of computers, deprives children and youth from cultural activities like playing group games, studying together and engaging with a sports activity.

Many of us complain that our children cannot express themselves properly and are not clear at communicating with their environment. When we ask a question to our child, either we get a very brief or a routine answer. Times elapsed aimlessly in front of computers have a significant effect on this.

We see that violence increase in each level of any new computer game. The game producers consider every type of method as permissible just to be able to attract children to the screen. Scenes which are not suitable for the age form the subconscious of a child. Children who have been exposed to several violent scenes are mostly inclined to aggression, anxiety and panic and they are generally furious and quick-tempered and consider violence as an ordinary matter. Reactions of children who watch violent films and play fierce and crimson computer games change in time and start applying more and more force to people and children around them. They tend to hit and kick others even after a slight disagreement. Being affected from destructive violent scenes, children reveal problems like over anxiety, sleep disturbances and behavioral disorders. Since the causes and effects of behaviors affected by the five senses are not questioned so much in pre-school children, abnormalities mentioned earlier can be seen more on them. We can give these as example: “A three year old child who watched violent films, applied what he watched on TV and stabbed and killed his little brother with a knife. Another child who thought himself to be a pokemon (a cartoon character), threw himself from the seventh floor with the intention of flying. And another child in France who could not win any computer games became epileptic because of having too frequent and excessive anger fits due to the unsuccessful playing sessions.” Unfortunately we often hear such news. In order to illuminate the subconscious of our children with beauties, favors, affection, and altruism, we should offer them alternative useful and educational games.

Harmful games also prevent children to learn their own culture, thus cause a cultural corrosion. Such games take our children to a world of weird clothes and hairstyles, weapons being the accessories. In this virtual world, no values exist except for “might is right.” Furthermore, in most of these games Islam is shown as a boogeyman and Muslims are shown as terrorists deserved to be killed. Children who are seized by the computer games become alienated to their environment. Having difficulty to make friends around them, children become enslaved by the computer and isolate themselves from the society. The only friend of the child is the computer, and in spite of elapsing the time, child still feels great loneliness inside. Hence, parents should provide suitable activities for their children and reasonably arrange the time spent for computer games.

Many bad characters shown on computer games also have perverse effects upon the child’s personal development. It is definite that messages given by these games like being strong and unchallengeable, inconsideration of other people’s lives, killing for the sake of living, disdaining ethical values, despising other people’s feelings, disrespecting the person addressed, categorizing the people, negatively affect the child’s personal development. Such games also impose unfavorable impacts upon learning abilities and awareness of the child. Scenes that are rapidly changing on computer screen distract the child greatly, make him confused and disturb his mind. This triggers a difficulty in concentrating when learning. Besides, excessive light changes may cause epileptic fits for some children.

Conclusively, computer games inspire children that the life is only a game and lead children to think too much about the characters in the game and mentally and physically to be with them all the time. Children playing too much computer games, carry the same concepts in the game to their relations with their family and friends, cause the child to confuse between the reality and imagination and eventually, the time spent together decreases and unsocial behaviors settle in the child’s personality.

Surely, we cannot underestimate the beneficial sides of the computer which is a must in modern age. But the ideal is to benefit from the positive services of the computer and to ensure a protection against its harmful usage. The playing time which is essential for the child’s healthy growth, should be distributed fairly between virtual games and real group games. For this, we must prefer games;

• in which they can play an active role,

• that are suggested by specialists and other experts,

• which can provide national awareness and cultural identity,

• which support comprehension and intelligence of the child,

• which contribute to virtues like sharing, team spirit, caring for others, honesty, and diligence,

• which instigate curiosity and make learning fun,

• which include parents into the game,

• which infuse consciousness of performing duties and responsibility,

• which help developing imagination, thinking ability, exploring and inventing capability.

If eyes, ears and other organs that are bestowed upon us by the All-Compassionate Creator are engaged with only entertaining computer games, then they are being used out of their innate purposes. Therefore, the vital responsibility of parents is to be very careful for guiding their children to use their sight, hearing, feeling, judging faculties in the right direction and to prepare an environment that provides the child a rich learning background and to bloom his mental abilities.

Of course you have been watching movies for years. Maybe you have subscribed to various cable or satellite channels so that you can watch even more movies. So, how many of them had the qualities mentioned above? How many of them, produced with enormous budgets and large casts and over-promoted, can you watch without finally becoming bored ? How many of them can fill you with indescribable emotions and make you resolve to follow in the footsteps of those characters?

One such movie is the masterpiece The Message. How many times have you seen it? I am sure that some of you have watched it ten, fifteen, or even more times. This would not surprise me at all, for we do not get weary of reading the Qur’an, which God revealed to humanity as the source of guidance and peace. Likewise, the lives and struggles of those who tried to live according to the Quranic teachings do not tire us. On the contrary, The Message refreshes your spirit each time you watch it.

There are two versions of this movie. The Message, directed by Moustapha Akhad and produced in the U.S., attracted attention due to the participation of some famous actors and actresses, among them Anthony Quinn, who “lives” the role he plays, Hamza, the Prophet’s uncle. Irene Papas, who played Abu Sufyan’s wife Hind, made this woman a prominent character, although historically Hind did not have an important part in the story.

The other film, the Arab made al-Risala, which has almost the same scenario, was watched mostly in Arab countries. Its most distinguishing feature is that the Qur’anic verses are recited in their original form (instead of in translation). This movie did not attract as much attention, because there were no movie stars in the leading roles. Nevertheless, the characters are portrayed quite successfully.

In both movies, Prophet Muhammad (pbuh) is not shown. Rather, he is symbolized through the staff he carries, the camel he rides, or the people who talk with him. Both scenarios begin by depicting the “Era of Ignorance” period in Arabia. Makka’s social structure and its culture are shown in some detail: the prevailing tyranny and injustice, the hundreds of deities being worshipped and the sacrifices offered to them, the annual fairs, and other activities are presented. This was the milieu into which the Prophet was born. His world was one in which poetry and rhetoric was favored, women and slaves were not regarded as human, where might was right, and where thousands of people died in blood feuds. In short, there was no one to stand up as a living monument of faith or courage or to speak up for the truth.

We read about the Prophet’s life or learn about it from the people around us. But how many times have we contemplated his struggles and difficulties in order to understand him better? These works fulfill an important duty in terms of informing those who do not have the time for such contemplation about the lives of these ascetic people, by taking them to the Makka of that time.

The revelation’s beginning is portrayed by reciting the first verses in the darkness of the Hira cave. First, the Prophet invites those who are close to him to Islam. Everything is done in great secrecy. The setting is the house of Ibn Arqam (where the early Muslims gathered) and the new converts devote themselves to this cause there. When there are 40 of them, the period of public preaching begins. Then we see another touching scene: the Muslim community is walking toward the Ka’ba with the Messenger in the middle. They are met with stones, spittle, clubs, and insults. One of the most spectacular scenes is close at hand: Hamza, whom the Messenger later nicknamed “the lion of God,” rescues these people, who could have been killed on the spot due to the provocations of Abu Jahl. He rides through the crowd and, to everyone’s surprise, dismounts and hits Abu Jahl with his bow. As a result of beginning to preach in public, the poor and weak Muslims are subjected to violence at the hands of the Makkan polytheists. The audience sees Bilal and Ammar ibn Yasar being tormented and tortured.

One of the most emotive scenes is the discussion held before King Negus between the first Muslims and the Makkan polytheists who followed them there. The Prophet, describing Negus as a just ruler, told the persecuted Muslims to take refuge in his land. So, Amr ibn al- ‘As, at that time a polytheist, was sent to bring them back and was given many gifts to bestow upon Negus. The king listens to their conversation for a long time, and for a moment thinks about handing them over, but decides to protect them after Ja‘far ibn Abu Talib recites the Quranic verses about Mary. These scenes are significant in that they show how the Christians of that time and area viewed Islam.

After a while, the Prophet and many Muslims emigrate to Madina. Another well-known scene is when the Messenger and Abu Bakr enter Madina. When the people, who have been waiting for days on the rooftops and in the trees, begin singing the hymn Talaal Badru to welcome him enthusiastically, a scene is created to touch the heart of all that witness it. And Madina’s Muslims, who beg the Makkan immigrants to stay with them, as well as the heartfelt embraces that are the product of the affiliation felt between the two groups, fill our hearts with emotion and our eyes with longed-for sights.

The following scenes depict the wars between the Muslims and the polytheists. Both movies give a detailed depiction of the battles of Badr and Uhud. The war tactics practiced around the wells of Badr and Mount Uhud are presented as comprehensively as possible. The peace of Hudaybiyah is pictured, but not focused on much. After the polytheists break the treaty, the Muslims, now more powerful than before, led by the Messenger and his followers, march upon Makka. Campfires are lit around Makka to intimidate the polytheists, Abu Sufyan tries to make peace and then coverts to Islam, we see the Prophet’s entrance to the city and witness him heading toward the Ka’ba…

Here come the scenes that fill you with emotion and move you so much. The Makkan exiles are once again walking along the streets of their hometown. Some embrace their relatives, kiss the ground, or similar actions. But the Prophet, who missed God’s House more than anything else, enters the Ka’ba … and we go inside with him. He uses his staff to topple the idols that have darkened the soul of humanity one by one, for they are nothing but stones and wood. We become so absorbed that, for a moment, we forget that we are watching a movie and wish that the camera would move a little so that we could see his blessed hand holding the staff, as well as his holy face. Bilal stands upon the Kab‘a’s roof and calls the faithful to prayer, just as the Prophet has told him to do. This call rings out in Makka … bliss fills the hearts, tears fill the eyes.

Then comes the final scene: the Farewell Sermon. One hundred thousand people fill the Uranah valley of Mount Arafat, and all eyes and ears turn upon him. At the end of this sermon, after he hears his community bear witness that he has fulfilled his duty, he says: “O God, Bear witness!” three times.

We see three blessed riders in the desert, representing the thousands of companions who went out into the world to invite people to Islam. After a certain point they separate, saying farewell to each other. Perhaps never to return, they are setting off for lands that are completely unknown to them in order to obey the Messenger’s command to tell others about Islam. Then the calls to prayer begin, one after another, recited in different tones, from mosques of different architectural styles, located in different lands.

This is how the movie ends , but you just keep sitting in front of the screen for a while. Though your eyes are still on the screen, fixed absently, your mind is there, far away in the deserts of Madina, thinking about the exalted guide who reminded people of their humanity, about the world which had been oblivious of humanity. Your soul is striving to follow on his path, and you leave your seat in a completely different mood.

The movie makers probably did not intend to make killing look attractive. But was it the final effect anyways? Do movies depicting indecent acts fail to show the consequences sufficiently? What can society do about this trend? These and similar questions have been asked and debated for decades. Below, we analyze a time in Hollywood when the concentrated efforts of concerned individuals and organizations had a significant positive impact on forcing the movie industry to move toward self-regulation.

The Beginning of the Movie Industry

Movies rose as a new form of entertainment at the turn of twentieth century. By the 1920s, 40 million Americans were watching them each week. After winning the right to vote in 1920, flapper girls were exercising their new-found freedom, Harlem nightclubs flourished with whites with an interest in African American culture, and the number of gangs selling liquor during Prohibition increased. Movie producers displayed these value changes in their films to attract more young people. This started the big fight between America’s moral guardians and the movie makers.

Hollywood scandals in the early 1920s accelerated the demand for movie censorship. In 1921, the famous comedian Fatty Arbuckle was accused of raping and murdering a young actress; director William Desmond Taylor was found murdered, and a series of front page stories revealed his drug use and sex life; actor Wallace Reid died of a drug overdose; and America’s “sweetheart,” Mary Pickford, got a quick divorce to marry Douglas Fairbanks.

The motion picture business had become an industry. Film companies seeking to integrate production, distribution, and exhibition had one formula in mind: expansion meant capital, capital meant Wall Street, and Wall Street meant conservative business practices. They could not afford any scandals or federal investigations of Hollywood.

The Pressure for Codes Builds

Leff and Simmons write: “In 1921 alone, solons in thirty-seven states introduced nearly one hundred bills designed to censor motion pictures. Women could not smoke on screen in Kansas but could in Ohio; a pregnant woman could not appear on screen in Pennsylvania but could in New York. Six censorship states, which controlled over thirty percent of the theater seats in America, condemned illegitimacy and sexual deviance.”(1) State censors recut films after the producers, and the outcome was unfavorable. Local exhibitors were tired of the cost of censor cuts and attacks by the public and the media. In January 1922, the movie company presidents formed a trade association, the Motion Picture Producers and Distributers of America (MPPDA). Postmaster General Will Hays, an ex-Republican national chairman with White House connections, was chosen as their head. He was a great success as a spokesperson, but failed as a censor regulator of movie content.

Under Hays, Hollywood instituted a morals clause that, as part of the standard employment contract, regulated performers’ off-screen lives: “The artist agrees to conduct himself with due regard to public conventions and morals and agrees that he will not do or commit any act or thing that will tend to degrade him in society or bring him into public hatred, contempt, scorn or ridicule, or that will tend to shock, insult or offend the community or ridicule public morals or decency or prejudice the producer or the motion picture industry in general.”(2) Furious with such self-regulation and restraints, many ignored the contract, and so the scandals continued.

A mainly Protestant anti-movie lobby grew larger and more threatening in the mid-1920s. The Women’s Christian Temperance Union (WCTU), the Reverand William H. Short’s Motion Picture Research Council, and Canon William Shaefe Chase’s Federal Motion Picture Council, among others, all lobbied for federal action. Supporters of cencorship bills claimed that movies were immoral, vile, and corrupting young people. With the advent of —talking— films, the moral guardians of America faced a bigger threat: movies were more popular and dialogue challenged public norms. According to Black: —In 1928 the New York State censorship board cut over 4,000 scenes from more than 600 films submitted, and Chicago censors sliced more than 600 scenes.—(3) Martin Quigley, owner and publisher of the industry trade journal Exhibitors Herald-World, initiated in 1929 the first attempt by Catholics to influence the film industry. Believing that government censorship was futile, he began thinking of a code that would include rules, regulations, and philosophy. Father FitzGeorge Dinneen, Chicago censor board advisor, sent him to Father Daniel Lord, a St. Louis University professor who could write the document. The resulting production code had three working principles:

• No picture should lower the moral standards of those who see it.

• Law, natural or divine, must not belittled, ridiculed, nor must a sentiment be created against it.

• As far as possible, life should not be misrepresented, at least not in such a way as to place in the mind of youth false values of life.(4)

The production code termed movies entertainment, and those who made them were obligated to produce —correct entertainment— for mass audiences. Movies had a profound impact on the —bodies and souls of human beings,— and could —affect spiritual and moral progress.— Hays saw the code in early 1930. He later wrote: —My eyes nearly popped out when I read it. This was the very thing I had been looking for.—(5) The code announced specific limitations on language and behavior. Lots of offensive words and phrases were banned, and the ridicule of religion, nudity, evocative dances, depiction of illegal drug use, and scenes of childbirth were prohibited. The code was explicit when it came to on-screen crime and sex:

I. Crimes against the Law

These shall never be presented in such a way as to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation.

1. Murder

1. The technique of murder must be presented in a way that will not inspire imitation
2.  Brutal killings are not to be presented in detail c. Revenge in modern times shall not be justified

2. Methods of crime should not be explicitly presented

1. Theft, robbery, safe cracking, and dynamiting of trains, mines, buildings, etc., should not be detailed in method
2. Arson must be subject to the same safeguards
3. The use of firearms should be restricted to essentials d. Methods of smuggling should not be presented

3. Illegal drug traffic must never be presented a. The use of liquor in American life, when not required by the plot or for proper characterization, will not be shown.

II. Sex

The sanctity of the institution of marriage and the home shall be upheld. Pictures shall not interfere that low forms of sex relationship are the accepted or common thing. 1. Adultery, sometimes necessary plot material, must not be explicitly treated, or justified, or presented attractively. 2. Scenes of Passion a. They should not be introduced when not essential to the plot. b. Excessive and lustful kissing, lustful embraces, suggestive postures and gestures, are not to be shown. c. In general passion should so be treated that these scenes do not simulate the lower and baser element.(6) Interestingly, the above principles set forth by a Catholic scholar were in perfect accord with the moral codes of Islam, another Abrahamic religion that prohibits the vivid depiction of actions not approved by God.(7) By the beginning of the Depression, film studios turned increasingly to themes of sex and violence to attract audiences. Finally, Hays used the resulting public reaction to persuade the studios that enforcing the code would be the most secure and economical answer to their troubles. If the movie industry regulated itself, it could prevent likely government intervention. The film companies were in debt, having spent a lot of money to introduce sound, and many had lost money in the stock market crash of 1929. Desperate to cut costs, they decided to avoid paying to revise the film after the censorship boards made their edits, by following the code before making their movies. The code was adopted in 1930.

Joe Breen Gets Involved

During 1930-34, movie producers ignored and openly mocked the code. The pressure continued from the Catholic Church with the support from Jewish and Protestant leaders. In 1934 Joe Breen, a strict Catholic moralist working as a public relations man for the production code in Hay’s office, was hired to run Hollywood’s Production Code Administration (PCA). Breen brought new standards: —The PCA had the authority to review all movies and demand script changes. Any theater that ran a film without the PCA seal of approval would be fined $25,000.—(8) Finally the Code had some power. Studios accepted it and produced films that met Breen’s standards. Largely because of his efforts to get the code implemented, it has become known as Breen’s Code. It lasted for more than two decades, being officially abandoned only in 1968. Breen’s Code is a perfect example of people affecting the behavior of institutions whose motives may not match the best interests of the people they serve. By expressing their dissatisfaction and organizing to pressure the motion picture industry, Americans managed to change the nature of the movie industry’s products toward higher moral standards held in common by most monotheistic religions. As we go into the twenty-first century, there are many areas in which people of faith can work together to make a positive change in their societies and the world

Footnotes

1. Six states: Pennsylvania, Ohio, Florida, New York, Maryland, Kansas, and Virginia. Leonard J. Leff, and Jerold L. Simmons, The Dame in the Kimono (New York: Grove Weidenfeld, 1990), 4.
2. Ibid., 5.
3. Gregory D. Black, Hollywood Censored (New York: Cambridge University Press, 1994), 34.
4. Leff and Simmons, The Dame in the Kimono, 284-85.
5. Black, Hollywood Censored, 40.
6. Leff and Simmons, The Dame in the Kimono, 284-85.
7. Bukhari, —The Prophets,— No. 8.
8. http://www.pbs.org/wgbh/cultureshock/beyond/hollywood.html.

Additional References

• O’Connor, John E. and Jackson, Martin A. (eds.). American History/American Film.
• New York: Frederick Ungar Publishing Co., 1979. Walsh, Frank. Sin and Censorship. New Haven: Yale University Press, 1996.

Much later, the 1990s generation was on everybody’s tongue. A generation that developed a relationship with a computer joystick, that can assume any identity from James Bond to the Queen of England in a virtual that expanded from kick-boxing to strategy games that can think and act in very limit ed areas, Internet geeks whose connection to life is united by the interactive means offered, and that is indifferent to social and even familial problems.

However, there is another generational in between, a generation that inherited the elders’ knowledge. This generation more or less knows equality, social justice, freedom of ideas and speech. Although it does not believe that “we are no more a hunting society,” its members are so cowed that they can be labeled at most a small gear of the System.

This generation is surrounded by new needs and modern solutions put to them, is being mechanized and is aware of what this means. Hence, a generation in deep suffering… It is contaminated, but aware of how it happened. It is living in a house full of furniture, yet aware of the “humiliation” this represents. It is working, yet aware of how “success” becomes an idol that enslaves people. It believes in heaven, is aware of its expulsion, and has not yet lost the hope of heaven, yet it is scared to confront hell and trapped in a dilemma. Again a generation in deep suffering.

What can stop this suffering? Who is the other thief in “set a thief to catch a thief,” that famous proverb? Love, or else an enormous experience that makes you feel alive? How about a fist that reminds you of your veins and the blood they contain? But please you first!

Fight Club starts with scenes from the life of a yuppie. From this introduction we understand the extent of his boredom. He makes “profitable” inspections for an automotive company and suffers insomnia due to statistics, numbers, and routines. The truth is that Norton, our protagonist whom we see with a gun pointed to his mouth, flashbacks the story for us.

The narrator, while seeking a cure for his long-lasting insomnia finds himself in a solidarity organization for the fatally ill. Marla, who attends every therapy session just as he does, disturbs him like him, she also is actually not “dying.” This irritates the narrator, who bad been the only healthy man present. Thus, even though he feels good, his problems recur.

We now begin to observe his metamorphosis, which starts with a chance encounter with the imposing, charismatic, and intelligent Tyler Durden on a plane that led to the start of the Fight Club. But what a club! A club with two rules: 1) You don’t talk about the Fight Club, and 2) You don’t talk about the Fight Club.

Tyler says that self-destruction, rather than self-improvement, might be the answer. Hence, every meeting is full of bloodshed, the fighting people are actually friends, and every punch means happiness for them!

The club’s very name, the close fighting scenes, and the phenomenon of ‘relief/purification” based on mutual consent seemingly gives the impression that Fight Club sanctifies violence. On the contrary, as in Seven and Game, David Fincher presents us with an ironic and hence indirect criticism of the System.

Tyler Durden, a sort of externalized inner soul of the narrator, utters things that are hard to disagree with, such as “You’ll get used to consuming more than you need. Then your belongings will eventually own you,`”, “You are not a beautiful and unique snow-flake” ,“If you have nothing to lose, you won’t be scared to lose,” and “You are not your job. You are not how much you have in the bank. You are not the contents of your wallet. You are not your khakis.”

Durden is asking for the television generation’s rage, and hence is trapped by the surmise of being a rock star or a CEO. But he is not offering a solution; be is merely promising a few hours of liberation from the “cowshed.”

The docile, quiet, and harmonious members of the lower class behave as they wish and discharge on the only property where the right of imposition is left to them, at least for a few hours. However, it does not stay there.

The action spreads to the streets, and deliberately harms the temples of consumption and the System’s key points. The goal is liberating individuals who spend their days under supervision and store unhappiness at night while “watching” other people’s lives, making them feel alive by peculiar experiences up to and including death! Yet it is only after you have lost everything that you are free to do anything. Fight Club represents that kind of freedom.

These relief scenes that are easily transformed into purification ceremonies, as well as the “liberating actions” thesis, evolved into a hegemony that even refuses the identities of its members. The fact that Tyler’s tyranny is a bad replica of the “great corrupt System” is accentuated by Fincher’s ingenious irony.

Let me tell you about Tyler. He had a plan. They trusted him. Tyler said that whatever they own end up owning them. The difference between the goals of the director and the characters becomes apparent. Moreover, Fincher fictionalizes group therapy and the modern psychiatry behind it as a “world of escapism.” The plump man in a group therapy session, a method peculiar to modern society, symbolizes modern times, which advises chemicals for every happiness and ideal.

Fight Club is an inexplicable movie… According to one reviewer: “Even if it was not such an effective satire, it is worth seeing just for its astonishing visual style.”1 It is a dark movie that can be viewed from many angles: revolutionary violence to social personality disorders, the relation between men who see themselves as the “waste of the world” and women who “raise them,” and individual-group identification.

However, I assume it probably will reach the generation that grew up at the “wrong time.” It will occupy a bright place in cinema’s scale, and will be talked about just like Seven, with its cast, story, surprises, and astounding camera. Fight Club is one of 1999’s best films. However, remember the warning: “Restricted: Under 17 requires accompanying parent or adult guardian.”

Footnotes

1. Michael Skeet, “Fight Club: An effective, incisive movie.” See: http://infoculture. cbc.ca/archives/filmtv/filmtv_10191999_ fightclub.phtml

References

• Aksiyon, 263 (December 1999).
• http://www.foxmovies.com/fightclub/
• http://movies.yahoo.com/shop?d=hV&id=1800018964&cf=info
• http://infoculture.cbc.ca/archives/filmtv/filmtv_10191999_fightclub.phtml

– Moive Review

Science Fiction/Fantasy and Action/Adventure

Rated R for sci-fi violence and language

Starring: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Joe Pantoliano

Directed by: The Wachowsky Brothers

Produced by: Andrew Mason and Joel Silver

Written by: Andy Wachowski and Larry Wachowski

Distributor: Warner Brothers

In the year 1999. To be more precise, people believe it is the Year 1999. In facts we are well into the middle of the twenty-first century. In addition, this is not the only reality concealed from us. The “creators” of artificial intelligence were caught unprepared while they were drunk on the extent of their accomplishments. There has been a great revolution-machine revolted against humanity and conquered life. Now we do not even have a system about whose corruptness and shortcomings we can complain. Yet we continue to work from 8 a.m. to 5 p.m. in our daily shifts, eat hamburgers while watching television, and attend parties. Children are still being born, and the sun still rises and sets.

However, none of this really exists, for only the “Matrix” exists. This “Matrix” is the name of a dream from which we cannot awake. It also is a three-dimensional curtain pulled between reality and humanity. With your fork-actually your fork does not exist either-you can still feel the taste of a nonexistent slice of meat. Tiredness, disappointment, and sorrow are all possible, along with the signals they send to your brain, most of which they already own.

Unless you believe “ignorance is a virtue,” like someone who realizes the difficulty of “knowing” does after he or she has known, you would like to learn. Yet, you also realize immediately that knowing this particular truth does not exalt you. This is neither an auto-criticism nor a suggested solution, but rather a knowledge that you will not be able to relate to others with extravagant praise or mention in every meeting or social gathering.

In fact, you would prefer not to know it at all: Matrix is the name of a computer program that is animated as if it is “life.” In reality, our bodies are connected to metal basins, and cables of various sizes are plugged into us. Our life lasts only as long as (the lifetime of the “battery.” We are planted on electronic fields, harvested and fed “until we exhaust” the battery. We are walking around with large plap-ins,which provide our connection with the machine, located at the back of our heads. Only those few who were born naturally have seen the world in which real parents exist, known in the movie as “Zion,” and do not have plug-ins. Zion is the only place that the electronic barbarians cannot enter, which is why the ruthless guards of the Matrix are trying so hard to find its coordinates.

THE CHOSEN MAN

Thomas Anderson is a computer geek who works for a software company during the day and spends his nights as a computer hacker known as “Neo.” There is a truth that he has been trying to find for a long time: Is his life somehow being controlled? He is after “Morpheus,” whose name is usually uttered as if he were a terrorist. Neo feels that this man is somehow connected to his problems and can provide him some answers. Morpheus gets in touch with Neo through his assistant “Trinity.”

When they finally meet, Morpheus promises to show Neo “the truth,” of which even minute parts are invaluable. Now, faith is the power that reality cannot deny. Neglecting humanity’s fragile nature, men and women built the Machine and will defeat it to the extent that they can free their thoughts from it. Is Neo the awaited savior? If so, what will he promise to humanity? Unless they are killed at the instant they “awaken,” will he promise the underground breakfasts consisting of mossy oats at best? In place of a joyful but unreal world, can he promise a dark but real world?

ELECTRONIC SCIENCE FICTION

Finally, a science fiction movie that can be viewed with enjoyment and suspense, one that is graded “A” despite its shortcomings. In The Matrix, the dose of excitement, long and technical dialogues, and contrasts are properly blended. The fighting scenes, modeled after Asian action movies and modernized in a computer environment, have been transformed into a public demonstration by the aesthetic style of the Wachowsky brothers. They do not hesitate to use such scenes, for they know that even viewers who do not like such action and fighting scenes will appreciate the results. With cameras that can shoot 12,000 clips per second, with actors seemingly almost independent of gravity, these fighting scenes seem like dances conforming to the movie’s theme, rather than brutal fights.

The movie moves smoothly between prologue and awakening, development and meeting, result and struggle, and conclusion. Among the cool, black-clad men and women with sunglasses, Reeves, Fishburne, and Moss have peculiar facial expressions. But the movie itself has a power beyond its individual components. One example of this is how the camera approaches objects: In one scene, the camera is located right under the helicopter and window from which a gun is being fired. Both action areas can be seen, yet the focus is on cartridges seemingly suspended in the air and then gradually gliding to the ground

As a matter of fact, the question: “Seeing that this electronic mechanism fools man and condemns him to a virtual life, to a dream from which awakening is impossible, could not man be deceived by a better view of 1999 rather than the present one?” is answered before long. Agent Smith accidentally lets the cat out of the bag when he has cornered Morpheus: “We wished a better world for man, but man defines his essence with such misery and sorrow that these designs were rejected by human conscious in the experiments.”

The martial-art figures borrowed from Asia give the impression that this struggle to awaken humanity carries a deeper philosophy, yet only in the movie’s second half is this suspicion confirmed. But it is impossible not to notice the symbolic supports of the Bible and Greek mythology, which are layered one inside the other and pervade the movie’s life and imagery. The relationship of “Trinity” to the Bible is self-evident. Moreover, “Neo” (like his name, he also is “new”) ascends to his own “reality” under the protective wings of “Morpheus” (the Greek god of dreams), who heals the mental and physical harm caused by switching from one world to another. Trinity Morpheus, and Neo form a sacred trio who know the “truth” and partially own the mechanism to alter it. They are striving to benefit a humanity corrupted by its own faults, while at the same time being fully aware that they really do not have more than just their belief. Until he experiments with the limits of his powers to learn if he is the “Chosen One” or not, Neo continues to learn. A female soothsayer wants him to sacrifice himself. After all, is there any other savior for humanity, who became arrogant because of its accomplishments but lost the struggle against evil forces and was enslaved, other than a “Chosen One”?

A BROTHER TO LEM

I do not know how much of The Matrix is inspired by the science fiction work of Polish author Stanislaw Lem. But the theme of living in a fake world as if alive, which came to the public agenda with such books as Strangers by Day (by Vicki Malones, 1984) and movies as Dark City (written by Frank Lauria, 1998, the movie version released on February 27, 1998), or the theme of an existing dark reality contrary to the present make-believe world-in other words the theme of illusion-simulation-is not so new.

The Matrix’s story-line bears a considerable resemblance to a book written in the 1970s by Lem, who is considered to be the genius of science fiction. But rather than eulogies, Lem delicately criticizes science. He foresaw humanity’s misfortunes and degeneration years ago. He touches on the results of inventions and discoveries in his future tableaus, rather than becoming carelessly intoxicated by them, and analyzes our greed and inordinate desires via scientific diagnoses and terms. Lem fictionalizes a virtual world similar to The Matrix in his 1974 novel The Futurological Congress.

The story goes like this: After a space voyage, Ijon Tichy finds himself in an advanced twenty-first century civilization. He tries to understand the age in which he lives and what he missed while asleep in the shuttle. In this new age, people can assume any temperament they want via chemical stimulants, store in their brains any information they want to by means of drugs, torment those they hate in their virtual worlds, travel, and participate in any virtual fantasy. In this “democracy,” such serious social problems as prejudice and racial discrimination are solved by chemicals. Opportunities are endless. There are firms to decide things for you, fight your fights, even to satisfy your religious sentiments. In short, this society has an ultra-free market economy.

Ijon comes across a Professor Trottelreiner, whom he had known long ago and who was sent to sleep in a spaceship like himself. He shows Ijon more than he wants to know by giving him a bottle of fragrance to smell. The scent emitted from the bottle shows reality to Ijon. The eye-catching restaurant coated with Italian tile, and the palm trees are transformed into a coarse underground shelter. The pheasant they are eating is, in fact, a porridge that has a grayish-brown vomit-like color, because the last pheasant died 25 years ago. The palm tree is really the rubber underwear of the man living in the upper shelf, which in reality is too narrow. People inhabit an incredibly overcrowded world, and forks and knives are made of tin.

Worse than that, Ijon understands why people are always red and out of breath: There are no elevators, so people reach the ninth and tenth floors by climbing up elevator cords. The chemical empire has already started to transform them, for most people now have stained and discolored skins, longer ears, and scaly backs. All seen images and used chemicals conceal the already demolished system of the planet, on which more than 20 billion people live. The air we breathe is full of camouflage mascots, reality is hidden under layers of chemical products, and humanity is rescued superficially from the reality of poverty and misery!

The Matrix is a movie that should be seen more than once. The Wachowsky brothers took into consideration not only aesthetic styles, but also commercial worries by meeting the expectations of an average sci-fi viewer and then combining both issues on the same platform. After the Coen and Taviani brothers, it is possible to say that the Wachowsky brothers, who managed to attract interest with their previous movie Bound, have opened a respected room in the cinema for themselves with The Matrix. We can only hope that the sequels, already rumored to be coming soon, will be just as good.

The best side of the movie is the Matrix paranoia itself, which is even scary to say. The Matrix gains importance when the uncontrolled life is faced with the reality of existence, the purpose of which is almost forgotten. It gains importance by becoming the new name for alienation, enslavement, and enumeration. Everything is assigned a number, including people. Our identification and accomplishments, everything we do, is specified with statistics and numbers, which have more value than the individual in the twenty-first century.