Viking Night: V for Vendetta
By Bruce Hall
October 29, 2013
BoxOfficeProphets.com
The irony and the satire- if you’re an American citizen circa 2005 - is all very obvious.
The movie is based on the graphic novel by Alan Moore, who famously disavowed this and all films based on his work, as well as everyone ever born who had anything to do with any of them. I don’t like getting hung up on comparisons between movies and books, and I can definitely identify with being possessive of their work. But this is the rare case where I think it’s possible to elevate someone else’s creative vision. Whether or not V for Vendetta was improved by the changes depends on who you ask. But if you ask me, it’s worth pointing out that in this situation Moore’s vision was elevated to the tune of $123 million worldwide. Not bad for a dark, R rated, politically charged thriller based on a comic book and written by the guys who brought us The Matrix.
Speaking of The Matrix, the Wachowskis put the band back together on this one, including co-producer Joel Silver and their handpicked director, James McTeigue. The result is somewhat narrower in scope than the original, and reads more like it was written by a frustrated Bush era American liberal than a frustrated Thatcher era British anarchist. But if the goal was to convey the idea that we all should remain vigilant, think for ourselves and openly question our leaders then yup - it works. I'm not saying that this movie is going to replace To Kill a Mockingbird or Fahrenheit 451 as a cultural touchstone of freedom or equality. I AM saying that for the first project of their post-Matrix glory, the Wachowskis did a solid job of bringing Moore's story to life in a way that appeals to a far more diverse audience.
So – one evening, it is against the previously described backdrop that a middle class girl named Evey (Natalie Portman) is out violating curfew when she's attacked by a pair of horny "Fingermen", which is a disturbingly apt name for a totalitarian police force. But before the goons can do their dirty deed, a mysterious figure attacks from the shadows and beats the crap out of them - while delivering a vibrantly verbose and valiantly veracious speech for his frightened spectator. He introduces himself as "V", and invites her to a “concert”. She agrees, because I guess she is turned on by people who walk around in the middle of the night wearing masks, making speeches and cutting up fascists.
It turns out that by “concert”, V meant “massive explosion”, as Evey is made witness to an act of terrorism. V proclaims himself to be a freedom fighter whose goal is to rid Britain of government oppression. His mask bears the likeness of Guy Fawkes, a Catholic conspirator who once tried to demolish Parliament and topple the Protestant government. V does not appear to be Catholic, but he clearly sees himself as carrying the same standard in the never ending fight for the little guy. And that would be the end of Evey’s involvement - except that in a world where the government has eyes and ears everywhere, it's hard for anyone to remain truly anonymous. While investigating V's attack, a relentlessly dour detective named Finch (Stephen Rea) sets his sights on Evey, who works as a low level gofer over at Fascist TV. Finch shows up at the studio right about the time V does - with his goofy mask and a stack of C4.
He takes over the station and announces his presence to the world, as well as his intention to blow up Parliament - Guy Fawkes style - on November 5th. When the cops storm the building, V escapes with Evey, who's now a fugitive by association. As a result, they become drawn into each other’s story and as he travels in their wake, Finch gets dragged along as well. Their experiences align symmetrically - V plays the wild eyed revolutionary whose loss of humanity at times makes him hard to distinguish from his enemy. For a time, Evey functions as sort of an audience stand in - implying that we are all at first sheep, until our eyes are opened. And Finch begins to question his role as a government flunky as bit by bit, the investigation begins to draw his moral convictions to the surface.
V for Vendetta clearly finds itself as bold and dashing a figure as V himself, who steals from the government with impunity and wages his private war from an underground lair worthy of a Bond villain. And while the film attempts to stimulate your thinking in the liberty/freedom department, it remains content to raise obvious points without really exploring them to any degree. Think for yourself. Question authority. Fight for your freedom! But like the Occupy movement it would later (indirectly) inspire, we find that getting in someone’s face and complaining certainly gets you attention, but does not in and of itself accomplish anything. And in lacking that kind of depth, Vendetta is more like a slick mash-up of Phantom of the Opera meets The Professional (also starring Portman) – minus the icky age gap.
It’s not bad. It’s just less than it aspires to be. And if you’re okay with that, then Vendetta should fulfill your desire for moderately stimulating allegory with just a hint of dystopian cynicism. And whether you approve of the finished product or not, you have to admit it worked out pretty well financially, critically and with most audiences - if you believe Cinemascore. Despite a narratively and philosophically reductive third act, Vendetta ties together so well you’ll probably feel just fine about forgiving it a few glaring flaws. And if you’re like me and waited until the last minute to think about Halloween, a hastily purchased Guy Fawkes mask plus a pair of jeans and a hoodie is just what the doctor ordered. Alan Moore, if you’re reading this – if nothing else, you got me out of a jam on my favorite day of the year.
Bleak, stylish and willfully preposterous, V for Vendetta takes something that was already pretty good and makes it pretty good for everyone.