“V for Vendetta” Directed by James McTeigue
Warner Bros. Pictures
“There is no coincidence, only the illusion of
coincidence,” gravely says the masked hero of “V for
Vendetta” half way through the film.
It is certainly no coincidence that a film written and produced
by Andy and Larry Wachowski of “The Matrix” would
feature such dialogue, along with a few impressive action
sequences, spectacular pyrotechnics and an always-adept Hugo
Weaving. That much is par for the course.
But the film is notable for the questions it raises. Is it
coincidence that the flag for a futuristic London bears a symbol
reminiscent of the swastika? That the aforementioned hero ““
the concisely named V ““ is, in fact, a terrorist? Or that
characters in the film draw noticeable parallels to Western
politicians?
Unlike other recent comic-book-based movies, “V for
Vendetta” is a political thriller of science-fiction
proportions. Set in 2020 in a totalitarian England, rooted in
over-the-top commentary of Western government and riddled with
visual metaphors, “Vendetta” is successfully both
action-packed and politically confrontational.
Based on the graphic novel created by Alan Moore and David
Lloyd, the film begins and ends with the Nov. 5 fireworks
celebration of Guy Fawkes Day. Fawkes, a Catholic conspirator who
tried to blow up Parliament in 1605 and was eventually hanged,
serves as an ongoing symbol throughout the film and an inspiration
for V and his deeds.
The plot follows the masked murderer as he skillfully and
systematically avenges what we learn is a painful personal history
in a neofascist state of Big-Brother-like laws run by Chancellor
Adam Sutler (John Hurt). And though V’s vendetta against his
society is innately personal, it becomes one of universal
importance, first enthralling the strong-minded Evey (Natalie
Portman) and eventually the entire city.
Even as his face is hidden by the mask’s disturbing smile,
Weaving (“The Lord of the Rings,” “The
Matrix”) plays V convincingly. His rich and charismatic voice
conveys an interplay of sarcastic wit and gleeful malevolence. The
actor’s background in stage drama undoubtedly informs the
theatrical movements of a man who views society as his own personal
stage.
Though Portman loses her flowing locks halfway through the film,
her performance only gains intensity. Her English accent
isn’t faultless, but she continues her knack of emerging as
the heart of her films.
Despite these performances and a remarkably intelligent script,
“Vendetta” is mostly devoid of human emotion. The story
may be character-based, but London 2020 is conspicuously inhuman.
Giant speakers line the streets announcing the nightly curfew.
Television, more than human contact, is the most prominent method
of communication. Any controversial, multifaceted remnants of human
history have been banned ““ anyone who owns an African statue
or a copy of the Koran is a sinner at best.
Thus, though it carefully investigates issues of morality,
tyranny and individuality and sometimes delves into the personal
and painful histories of its characters, the film does not elicit
emotional reaction until its climax, when the anxiety building
throughout the film is suddenly and finally relieved.
Ultimately, given a powerfully fitting musical score by Dario
Marianelli (“Pride and Prejudice”), vibrant
cinematography by the late Adrian Biddle (“Aliens”
& “The Mummy”) and a restrained downplay of special
effects, “V for Vendetta” is downright strange ““
quietly discomforting, yet refreshingly provocative.
“”mdash; Devon Dickau