“V for Vendetta” is going to confuse a lot of people. Nevertheless, and earn no mistake about it, this is movie making of the highest order, combining all the finest elements of immense storytelling into a potent roller coaster of a movie filled with huge action,intellect and above all, ideas. Its message can - and will - easily be dismissed by naysayers as sophomoric or too “out there,” or “anti-american” but there is also an earnestness here that will resonate strongly, and perhaps, frighteningly, to many viewers who will not fail to discover the correlation between this fictional yarn and the map the world we live in works.
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Filled with stereotypes and archetypes, “V” is unapologetic in its essaying of morality and in its strongly held sentiment that this account is “for the people, by the people.” Brothers and writers Larry and Andy Wachowski (of Matrix fame) have infused their screenplay with the inflame, confusion and hope captured in Alan Moore’s fresh graphic unusual - and it’s better looking as a result.
I truly acquire that many who survey “V” will be upset by it, but hopefully more of us will be inspired by its doughty, blatant message and grasp a honorable hard witness at ourselves and the device the world works around us and survey that, with sacrifice and thoughtfulness, the world can be changed.
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As Evey, Natalie Portman is cast in something of the “victim” role, but she makes us route for her, and to her credit she goes beyond that making the transformation of her character not only believable, but in the destroy, honorable.
Hugo Weaving - the man gradual the cover - gives a performance that can only be described as mesmerizing. As “V” he exposes all of the strength and weakness of a character that is equal parts savior and villain.
The physical production is sparkling in its realism as it paints a nightmarish world of the not-very-distant future (2020) and is chilling in its depiction of governmental power, socio-political corruption and, ultimately, the complacency of its citizens. Weaving’s “V” challenges, and ultimately changes all of that, as he speedily unravels the fabric of civilized society, capturing the public with his gallant ideas - and with the promise and permanancy of change through rebellion and political uprising.
Most chillingly, the film invokes the terror once feared in “1984″ but with a renewed vigor that drives home the horrors Orwell foresaw, and level-headed loom big in our comfy current world. Chilling? You betcha! For those who know the original, there is exiguous skimping, and, given the unique world space, one must absolutely applaud the filmmakers for “going there” as far as the ending is concerned. This is film making at its emotional and inspiring best.
Are there flaws? Of course there are, but ultimately “V for Vendetta” rises far above them in its presentation of a world filled with ideas that have forever been debated, and does it in a fable well told, beautifully acted and chunky of hope for humankind. Not unpleasant work for a movie. Actually, it’s glorious.
Alan Moore’s decision to want his name off the final credits for the film adaptation of V for Vendetta now makes sense. Moore has had a hate/hate relationship with Hollywood and the film industry in general. They’ve taken two of his other works in The League of Wonderful Gentlemen and From Hell and bollocks’d them up (to borrow a term musty quite abit in V for Vendetta) . Outside of Watchmen, Alan Moore sees V for Vendetta as one of his more personal works and after reading the screenplay adaptation of the graphic new by The Wachowski Brothers his decision afterwards was to ask his name be removed from the film if it was ever made. Piece of this was his hatred of the film industry for their past mistakes and another being his wish for a perfect adaptation or none at all. Well, V for Vendetta by James McTeigue and The Wachowski Brothers is not a perfect film adaptation. What it turns out to be is a film that stays upright to the spirit of Moore’s graphic recent and given a fresh, up-to-the-current news retelling of the world’s spot of affairs.
V for Vendetta starts off with abit of a prologue to elaborate the relevance of the Guy Fawkes screen conventional by V throughout the film and the significance of the date of the 5th of November. I mediate this change in the narrative from the source material may be for the assist of audiences who didn’t grow up in the UK and have no belief of who Guy Fawkes was and what his Gunpowder Position was all about. The sequence is short but informative. From then on we travel on to the open of the main yarn and here the film adheres finish enough to the source material with a few changes to the Evey character (played with skill that more than makes up for her Amidala performances) but not enough to extinguish the character. Caught after curfew and accosted by the ruling government’s secret police called Fingermen, Evey soon encounters V who saves her not unbiased from imprisonment but rape.
Right from the initiate the one thing McTeigue and The Wachowski Brothers got dead-on was casting Hugo Weaving as the title character. Stutter silky, velvety and sonorous, Weaving infuses V with an otherworldly, theatrical personality. Whether V was speaking phrases from Shakespeare, philosophers or pop culture icons, the express gave a character who doesn’t present his face from leisurely the enternally-smiling Guy Fawkes shroud exact life. I’d forgiven the makers of this films for some of the changes they made to the narrative and some of the characters for keeping V as discontinuance to how Moore wrote him. Once V and Evey are thrown in together by the happenstance of that nightly encounter their fates became intertwined. Portman plays the reluctant watch to V’s acts of terrorism, murders and destruction in the beginning, but a poignant and emotionally distinguished sequence to begin the second half of the film soon brings Evey’s character not remarkable towards V’s design of doing things, but to view impartial why he’s doing them. This sequence became the emotional punch of the whole film and is literally lifted word for word from the graphic unusual. I heard more than unbiased a few people sobbing in the theater as the scenes and tale unfolded.
The rest of the cast seemed like a who’s who of the British acting community. From Stephen Rea’s stubborn and dogged Chief Inspector Finch whose quest to salvage V leads him to finding clues about his government’s past actions that he’d rather have not found. Then there’s Stephen Fry’s flamboyant TV demonstrate host who becomes Evey’s only other ally whose secret longings have been forbidden by the government, but who’s awakened by V’s actions to go through with his absorb compose of rebellion. Then there’s John Damage as High Chancellor Adam Sutler who’s seen chewing up the scenery with his Hitler-like performance through Enormous Brother video conferences (an ironic bit of casting since John Distress also played Winston Smith in the film adaptation of the Orwell classic 1984) . I really couldn’t catch any of the supporting players as having done a abominable job in their performances. Even Hurt’s Sutler may seemed over-the-top to some but his performance impartial showed how mighty of a hatemonger Sutler and in the kill his Norsefire party really were in order to finish in power.
The sage itself, as I mentioned earlier, had had some changes made to it. Some of these changes angered Moore and probably inflame his more die-hard fans. I count myself as one of these die-hards, but I know how film adaptations of classic literary works must and need to dapper some of the bulky from the main body and theme of the fable to fully translate onto the silver shroud. The Wachowski Brother’s screenplay did fair that. They trimmed some of the side stories and tertiary characters from the anecdote and concentrated on V, Evey and Inspector Finch’s pursuit of both and the truth. This adaptation is distinguished closer to how Peter Jackson adapted The Lord of the Rings. As a fan of Moore I understood why he was miserable with the changes. But then Moore is also an avowed perfectionist and only a perfect adaptation would do.
Already critics on both sides of the aisle have called V for Vendetta revolutionary, subversive, heroic to irresponsible, propagandist. All because the film dares to ask serious questions about the nature and role of violence as a gain of dissent. But the granddaddy query the film brings up that has people talking is the question: terrorist or freedom fighter? Is V one or the other or is he both? Create no mistake about it, V for all intents and purposes is a terrorist if one was to consume the definition of what a terrorist is. The makers of this film goes to mountainous lenghts to record throughout the film objective how Sutler and his Norsefire (with its iconic Nazi-like symbols and fundamentaist Christian thinking) party rose to power in the UK. Partly due to what seemed like the failed US foreign policy and its subsequent and destructive decline as a superpower and the worldwide apprehension and fright it began as a result. V for Vendetta also ask unbiased who was to blame for allowing such individuals to rule over them. V has his reasons for killing these powers-that-be, but he also points out that people really should objective perceive in the mirror if they need to know who really was to blame. For it was the population — whose desire to remain sterling and have a semblance of peace — gave up more and more of their basic liberties and rights for a return to order. If one was to ogle at the past 100 years they would glance that it’s happened before. There was the regime of Pol Pot in Cambodia, Milosevic’s Greater Serbia, and the king of the hill of them all being Adolf Hitler and his Nazi Inner Circle.
Another thing about V for Vendetta that will surely talked about alot will be the images broken-down in the film. Not unbiased images and symbols looking so great like Nazi icons, but images from the recent events sweeping the globe that has been shown time and time again in the news and written about in magazines and newspapers. The film shows people trip and hooded like prisoners from Abu Ghraib. The reason of the war on awe stale time and time again by Sutler to elaborate why England and its people need him and his group to protect them by any means important. V for Vendetta seems like a timely film for our fresh times. Even with the conclusion of the film finally accomplishing what Guy Fawkes failed to do that night of November 5th some 400 plus years ago, V for Vendetta doesn’t give all the answers to all the questions it raises. For some I’m clear this would be something that’ll frustrate them. So grand of people who go to contemplate thought-provoking films want their questions answered as clearly as possible and all of them. V for Vendetta doesn’t retort them but gives the audience enough information to try and work it out themselves.
In final analysis, V for Vendetta accomplishes in bringing the main themes of Alan Moore’s graphic original to life and even does it well despite some of the changes made. It is a film that is determined to polarize the indecent left and good of the political pundits and commentators. But as a fragment of thought-provoking and even as a politically subversive film, V for Vendetta does it job well. It is not a perfect film by any respect, but the fable and message it tries to philosophize in addition to its value as a part of entertainment mor than makes up for its flaws. V for Vendetta more than continues the original gash of seriously done silly book fillm adaptations (Batman Begins, X2, Sin City, and A History of Violence) but it also shows that Alan Moore’s work can be adapted well to the cover when given to the honest people. It may not be perfect and it may not obtain Alan Moore delighted, but it comes finish and more than makes up for LXG and From Hell.
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