Trinity is really “The One”
Neo may have been destined to be "The One", but it is Trinity who is the true hero of the film. Trinity's importance can be easily over looked when the focus is clearly on Neo’s “God like” status. However, from beginning to end she plays a key role in Neo’s realization of his destiny. Trinity is not your average heroine or female character in this film. It’s ironic how The Matrix seems to be a “manly mans” type of movie, but holds a lot of hidden “female narratives”. The plot of The Matrix is all to familiar especially in a story book sense as well, It would appear that the creators of the matrix aimed to illustrate the concept of simulacrum. Once analyzed the movie may seem to be a bit backwards from the norm.
Neo may have been destined to be "The One", but it is Trinity who is the true hero of the film. Trinity's importance can be easily over looked when the focus is clearly on Neo’s “God like” status. However, from beginning to end she plays a key role in Neo’s realization of his destiny. Trinity is not your average heroine or female character in this film. It’s ironic how The Matrix seems to be a “manly mans” type of movie, but holds a lot of hidden “female narratives”. The plot of The Matrix is all to familiar especially in a story book sense as well, It would appear that the creators of the matrix aimed to illustrate the concept of simulacrum. Once analyzed the movie may seem to be a bit backwards from the norm.
Firstly, it is trinity who starts the movie off escaping from agents in The Matrix. While attempting to capture her, one officer says arrogantly, "I think we can handle one little girl." When the film cuts back to trinity she is killing officers with little effort and no sign of remorse. With that said we are forced to reevaluate the status of a “girl” or “woman” in this case. In today’s films we see a lot more women that can hold their own as Theresa L.Geller mentions, “The current dominance of the action genre has given a rise to female characters who challenge conventional femininity through their narrative and aesthetic roles”. With that said, we are introduced to Trinity with her short-slicked back hair, all black cat suit and dare devil stunts. At first she exemplifies the standards of a "tough chick", but not of the basic love interest in a movie. Trinity is far from the damsel in distress; in her own right she is just as tough as Neo. Her very name comes from “a God most decidedly masculine” says Williams. The film clearly acknowledges the irony when Neo states upon first meeting her, “I just thought you were a guy” and she replies “Most guys do”. Trinity is what Geller labels as a “tough chick” in that she deviates from normal “gender expectations”. One might find themselves labeling Trinity as lesbian on first impression. Gill Valentine argues, “women are identified as lesbian because they fail to dress and behave according to their gender identity” (qtd. in Geller 14). Although it can seem like it, she is in noways homosexual in that she later develops an interest for Neo. As Christopher G. Williams states, “This narrative, which will ultimately show Trinity to be the more powerful figure, also relegates the masculine character to feminine roles and characterizations” (8). Trinity’s role may be secondary in the film, but Neo’s weaknesses only highlights her strengths.
One of the more important “oppositions” in the film are the status of the male and female. Ironically, The Matrix is film that seems to be a “manly mans” type of movie,
but contains a lot of feminine narratives. Neo can obviously be compared to female protagonist like Alice of Alice in Wonderland. These narratives are a few of many unexpected inversions in this film. Inversion is known as a deviation from the normal, basically a change or “flip in the script” so to speak. Neo at first is not the “rebellious hero” we assume him to be, but more like Alice (a female). Early in the film he is instructed to “follow the white rabbit” which lead him to his first encounter with Trinity. Williams argues that “Neo is feminized both in terms of his figuration as a female and also through his hapless, almost virginal innocence so similar to the female protagonists of fairy tales” (8). This theory is quiet funny, but true in the sense that Neo acts as a scared little girl would, not as “The One” would. Another clear connections with wonderland is Morpheus’s line “take the blue pill and the story ends or take the red pill and you stay in Wonderland and I show you how deep the rabbit hole goes”. Neo enters the “rabbit hole” to discover a new reality, but at the same time believes nothing and no one. It is only through the constant belief of others especially Trinity's that's he is able to become “The One”.
Simulacrum is used to describe a representation. Another association would be
an image lacking the qualities of the original. Simulacrum has been an interest of many philosophers. One philosopher in particular, Plato, speaks of two different kinds of “image-making”. The first is a “faithful reproduction”, or an attempt to copy the original precisely. The second type of image making is to distort intentionally to make the copy seem correct to the viewers. Clearly the directors intended to portray the matrix as nothing more than simulation. And In the case of Baudrillard, it would seem that The Matrix aimed to illustrate this concept. Simulacrum is basically the concept of simulation and reality. the the film Neo acquires the ability to master simulation, Trinity on the other hand has the ability to control both reality and simulation. One of the main focuses in the film is controlling and knowing the “real”. This concept has very much to do with Baudrillard’s concept of the purpose of simulacra. Douglas Kellner argues that Baudrillard is suggesting “the inherent goal of the order of simulacra is to produce a flexible and controllable universal system of order and power” (78). I will argue that the intended expectation of the film is obvious at first but then deviates from the plan. An example pf this twist would be when Neo dies in the matrix. Trinity, not ready to let go and believing it’s not the end whispers to Neo’s dead body, “Neo, I'm not afraid anymore. The Oracle told me that I would fall in love and that that man... the man that I loved would be The One. So you see, you can't be dead. You can't be... because I love you. You hear me? I love you.” It is only through trinity’s realization and belief that Neo is revived. Without these words from Trinity Neo would have never believed in his destiny. This in it self is another example of an inversion, the main character, “the hero” needed to be saved by a woman non-the less. It is also another sign of the strength Trinity holds in The Matrix as well as in the “real world”. Williams states “This “heroism” is based upon Trinity’s position as a master not simply of simulacra but ultimately of reality itself--control derived from her own perceptions and beliefs about what the world should be.” The blending of both real and simulation ultimately makes Trinity the film’s true hero.
She not only kicks butt in the matrix but she also exudes the same strength and confidence in reality. The fact that Trinity holds power in both simulation and real world makes her a true master of herself and surroundings. It is mainly Neo’s budding romance with Trinity that holds great significance to his realization of his destiny. Without her and her reassuring belief in him there would be no Neo “The One”.
Works Cited
Baudrillard, Jean. “Simulacra and Simulation.” University of Michigan Press,1994.
Google Books. [Web]. May 20, 2011.
Geller, Theresa L. "Queering Hollywood's Tough Chick." A Journal of Women Studies.
Volume 25. Issue 3 (2004): Pages 8-34. Print.
Kellner, Douglas. Jean Baudrillard: From Marxism to Postmodernism and Beyond.
Stanford, California: Stanford University Press, 1989. Print.
The Matrix. Dir & Prod. Andrew and Lawrence Wachowski. Warner Bros. 1999. DVD
Williams, Christopher G. "Mastering the Real: Trinity as the "Real" Hero of The Matrix."
Film Criticism. Volume 27. Issue 3 (Spring2003): Pages 2-17. Print.
Baudrillard, Jean. “Simulacra and Simulation.” University of Michigan Press,1994.
Google Books. [Web]. May 20, 2011.
Geller, Theresa L. "Queering Hollywood's Tough Chick." A Journal of Women Studies.
Volume 25. Issue 3 (2004): Pages 8-34. Print.
Kellner, Douglas. Jean Baudrillard: From Marxism to Postmodernism and Beyond.
Stanford, California: Stanford University Press, 1989. Print.
The Matrix. Dir & Prod. Andrew and Lawrence Wachowski. Warner Bros. 1999. DVD
Williams, Christopher G. "Mastering the Real: Trinity as the "Real" Hero of The Matrix."
Film Criticism. Volume 27. Issue 3 (Spring2003): Pages 2-17. Print.



