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V for Vendetta represents 2006's first memorable motion picture - a visually
sumptuous concoction that combines political allegory, bloody action, and a few
stunning cinematic moments into a solid piece of entertainment. While it's true
that the film at times overreaches and its connection to its graphic novel
inspiration is tenuous, V for Vendetta mostly succeeds playing in the same
sci-fi thriller arena as Aeon Flux and Ultraviolet. First-time director James
McTeigue is relentless when it comes to pacing, rarely letting things flag for
extended scenes of flabby explosion. And if there are times when V for Vendetta
is overwrought and chaotic, those lapses are easily forgotten in the midst of
the rousing nature of the experience.
It's 2020 London, and the world is in turmoil. Across the ocean, the United
States has collapsed into civil war caused by plague, poverty, and civil unrest.
Things are calmer in England, due to the totalitarian reign of fascist dictator
Adam Sutler (John Hurt), whose bedtime reading is likely to be Mein Kampf.
Terror roams the streets at night, not only in the form of the Chancellor's
thuggish enforcers, but in the masked person of "V" (Hugo Weaving), a mysterious
swashbuckling figure whose features are hidden behind the plastic likeness of
Guy Fawkes. Previously unknown, he is about to become the most infamous
individual in the city, a dark knight who inspires the people and enrages the
authorities.
Evey (Natalie Portman), a TV station gopher and aspiring actress, is on her way
home after curfew when Sutler's brutes corner her with the intention of rape -
or worse. She is saved from her fate by V, who dispatches her attackers without
effort. He then invites her to watch a "performance" he has orchestrated: the
explosive destruction of the Old Bailey, complete with fireworks choreographed
to the strains of Tchaikovsky's "1812 Overture." The date is November 5
("Remember, remember the fifth of November…"), and the action is the opening
salvo in V's one-man attempt to topple Sutler and his right-hand man, Creedy
(Tim Pigott-Smith). He offers Evey the chance to join him, but she is frightened
and seeks sanctuary with television personality and co-worker Deitrich (Stephen
Fry). Meanwhile, a police investigation led by Inspector Finch (Stephen Rea)
begins a search for the identity of the terrorist V.
V for Vendetta is a series of moments. From the destruction of the Old Bailey to
V's introductory monologue (where nearly every other word begins with the letter
"V") to the toppling of a massive number of dominoes to the final, blood-soaked
battle, the movie offers plenty of chances for nape hairs to stand on end. (Must
be the Tchaikovsky that did it for me…) The plot is a little dense at times,
with the whodunit? elements never quite mixing with the edgier thriller aspects.
And the Guy Fawkes stuff (he was a Catholic extremist who tried to blow up
Parliament on November 5, 1605) seems extraneous (probably because I'm an
American).
There are plenty of ideas. Some would argue that's what the screenwriters, the
Wachowski Brothers, are best at - giving viewers things to think about. Although
there's a fine line between smart material and over-the-top hokum, V for
Vendetta mostly stays on the right side of the demarcation. The movie asks
questions about the price we're willing to pay by giving up freedom to feel safe
(a far cry from "Give me liberty or give me death!"), and argues that the term
"terrorist" is defined by perspective. There's an eerie speech about the power
inherent in the destruction of a symbolic building that will have nearly every
American envisioning the shadow of Osama bin Laden looming over the World Trade
Center.
From a visual standpoint, V for Vendetta bears the earmarks of a comic
book-to-film adaptation: rich images, deep shadows, and strong iconography.
Although not on par with Sin City, which is more like a graphic novel come to
life, V for Vendetta has the power to arrest the viewer's attention. Yet, by
keeping the perspective that of a naïve girl dragged into this brutal struggle,
McTeigue ensures that the human element is not lost. The co-creator of the
source material, Alan Moore, has distanced himself from the cinematic version,
but this V for Vendetta works on its own terms.
No awards will be handed out for acting. Beneath the mask and cowl of V, Hugo
Weaving isn't required to do more than appear imposing and concentrate on his
vocals. It's an anonymous role that anyone could play. (In fact, Weaving
replaced James Purefoy when he left after citing "creative differences" with the
filmmakers.) Natalie Portman is solid, and particularly good during the torture
scenes and their aftermath, but this isn't the most representative example of
her range, and she is plagued by an inability to develop a consistent British
accent. (The schoolgirl costume she wears during one scene will have fetishists
drooling, however.) Stephen Rea is suitably low-key as the hangdog policeman.
And John Hurt gets to salivate and chew on the scenery in a way that he hasn't
been able to in years.
V for Vendetta plunders a variety of pop culture sources. Some of the references
are from the graphic novel; others are unique to the movie. Without over
thinking or digging too deep, viewers will be able to identify parallels with
1984, The Matrix, The Phantom of the Opera, Zorro, and even Star Wars. V for
Vendetta can be seen as a political allegory, but it's not as blatant a comment
on current events as some reviewers might claim. Still, if you want to go down
that road, the associations are there to explore. For those who would prefer to
simply enjoy this textured, futuristic tale of love, loss, and mayhem, V for
Vendetta satisfies for the entirety of its two-plus hour run.
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