“V for Vendetta” is going to confuse a lot of people. Nevertheless, and obtain no mistake about it, this is movie making of the highest order, combining all the finest elements of stout storytelling into a potent roller coaster of a movie filled with tall 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 scrutinize the correlation between this fictional narrative and the procedure 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 record is “for the people, by the people.” Brothers and writers Larry and Andy Wachowski (of Matrix fame) have infused their screenplay with the enrage, confusion and hope captured in Alan Moore’s new graphic unusual - and it’s better looking as a result.
I truly contain that many who view “V” will be upset by it, but hopefully more of us will be inspired by its valiant, blatant message and remove a gracious hard gape at ourselves and the method the world works around us and eye 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 demolish, beneficial.
Hugo Weaving - the man late the cloak - 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 shapely 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 lickety-split unravels the fabric of civilized society, capturing the public with his audacious ideas - and with the promise and permanancy of change through rebellion and political uprising.
Most chillingly, the film invokes the horror once feared in “1984″ but with a renewed vigor that drives home the horrors Orwell foresaw, and mild loom sizable in our comfy new world. Chilling? You betcha! For those who know the recent, there is cramped skimping, and, given the new world site, one must absolutely applaud the filmmakers for “going there” as far as the ending is concerned. This is film making at its emotional and interesting 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 tale well told, beautifully acted and corpulent of hope for humankind. Not abominable work for a movie. Actually, it’s splendid.
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 archaic 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 modern by The Wachowski Brothers his decision afterwards was to query 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 correct to the spirit of Moore’s graphic unique and given a fresh, up-to-the-current news retelling of the world’s site of affairs.
V for Vendetta starts off with abit of a prologue to define the relevance of the Guy Fawkes camouflage frail by V throughout the film and the significance of the date of the 5th of November. I reflect this change in the record from the source material may be for the succor of audiences who didn’t grow up in the UK and have no belief of who Guy Fawkes was and what his Gunpowder Site was all about. The sequence is short but informative. From then on we disappear on to the launch of the main memoir and here the film adheres terminate 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 fair from imprisonment but rape.
Right from the begin the one thing McTeigue and The Wachowski Brothers got dead-on was casting Hugo Weaving as the title character. Negate 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 impart gave a character who doesn’t point to his face from gradual the enternally-smiling Guy Fawkes veil genuine life. I’d forgiven the makers of this films for some of the changes they made to the epic and some of the characters for keeping V as end 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 search for to V’s acts of terrorism, murders and destruction in the beginning, but a poignant and emotionally much sequence to launch the second half of the film soon brings Evey’s character not noteworthy towards V’s contrivance of doing things, but to view fair 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 modern. I heard more than unbiased a few people sobbing in the theater as the scenes and narrative 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 obtain 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 explain 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 enjoy earn of rebellion. Then there’s John Harm as High Chancellor Adam Sutler who’s seen chewing up the scenery with his Hitler-like performance through Gigantic 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 net any of the supporting players as having done a poor job in their performances. Even Hurt’s Sutler may seemed over-the-top to some but his performance unbiased showed how distinguished of a hatemonger Sutler and in the extinguish his Norsefire party really were in order to finish in power.
The tale itself, as I mentioned earlier, had had some changes made to it. Some of these changes angered Moore and probably exasperate 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 well-organized some of the chubby from the main body and theme of the legend to fully translate onto the silver veil. The Wachowski Brother’s screenplay did impartial that. They trimmed some of the side stories and tertiary characters from the yarn and concentrated on V, Evey and Inspector Finch’s pursuit of both and the truth. This adaptation is great closer to how Peter Jackson adapted The Lord of the Rings. As a fan of Moore I understood why he was wretched 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, mettlesome to irresponsible, propagandist. All because the film dares to ask serious questions about the nature and role of violence as a perform of dissent. But the granddaddy examine 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? Acquire no mistake about it, V for all intents and purposes is a terrorist if one was to exhaust the definition of what a terrorist is. The makers of this film goes to titanic lenghts to represent throughout the film unbiased 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 dread and panic it began as a result. V for Vendetta also ask unprejudiced 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 honest see in the mirror if they need to know who really was to blame. For it was the population — whose desire to remain trustworthy 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 scrutinize at the past 100 years they would peer 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 outmoded in the film. Not impartial images and symbols looking so mighty like Nazi icons, but images from the original 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 swagger and hooded like prisoners from Abu Ghraib. The reason of the war on alarm traditional time and time again by Sutler to define why England and its people need him and his group to protect them by any means well-known. V for Vendetta seems like a timely film for our new 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 determined this would be something that’ll frustrate them. So distinguished of people who go to behold thought-provoking films want their questions answered as clearly as possible and all of them. V for Vendetta doesn’t reply 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 unique to life and even does it well despite some of the changes made. It is a film that is clear to polarize the obscene left and accurate 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 sage and message it tries to stutter in addition to its value as a section of entertainment mor than makes up for its flaws. V for Vendetta more than continues the unusual nick 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 shroud when given to the proper people. It may not be perfect and it may not develop Alan Moore pleased, but it comes conclude and more than makes up for LXG and From Hell.
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Craig Haley