V for a Verdict
My verdict? It’s a decent retelling of the classic comic-book “V for Vendetta.”
For those not aware of the original 1987 comic book, envisioned by writer Alan Moore and artist David Lloyd, "V for Vendetta" is the pinnacle of its art form--a solid story about a man’s idea against a world that has become a militarilistic society.
Just think 1984. No homosexuals allowed in this world. Neither do the popular arts have a place in this same world.
Despite being surrounded by a fascist state, the character of V targets several superiors. The terrorist renegade is nothing more than an enigma, an everyman behind the smiling mask. Constantly taunting. Turning the tables. Always moving outside of shadows.
Not surprisingly, Alan Moore didn’t want his name associated with the film after getting a bad taste from the recent crapola into celluloid. Most notably, the putrid “League of Extraordinary Men.” Moore felt like someone took a dump on him.
Though I don’t see why Moore should be ashamed of "V for Vendetta." It’s quite good. I got to see it on the Saturday matinee.
The film, written by the Wachowski brothers (the Matrix trilogy team) is a political statement.
Civil liberties are slowly drained away. Life is no longer a sacred thing. People are merely numbers in a prison world. The country of England is turned inside out after a devastating war.
A new vision heralds a stronger government. Sadly, people were longer a matter. The masses are controlled. Like pests in a cage. They soon learn there is no longer an outside world.
In the film, V said he's just an idea. But an idea can be a powerful thing. John F. Kennedy was a man of many ideas. So was Martin Luther King. Their visions live on.
V becomes a wake-up call to the people. Anarchy settles in. Finally they’re aware of their surroundings. Casting down their shells.
V finds a young woman Evey who he takes under his wing. He passes his knowledge to her. So she becomes a replacement. His idea is passed on.
The only problem I have with the film is that it seems too comtemporary. When I read the original comic book, I didn’t know when the hell it was set in. It could’ve been in the mid-1980s. Or the near future. Which makes the book feel more compelling.
Kudos to the film which takes a serviceable amount of the original material and place them on the big screen with certain style. And without overdoing it. Hugo Weaving deserves credit for acting in a role where is face is always covered. Most actors prefer to be recognized. Not Weaving. His booming voice leaves much for our imagination. It trails into darkness like a threat.
I’m glad they kept pivotal scenes from the comic book: the mask-wearing crowds threading through London, the hero's escape from room numbered roman numeral V, and the story of Valerie.
Natalie Portman deserves similar praises. She's especially good when she breaks down, crying, after her journey through the heart of darkness. Learning that there were things outside her world that bears little semblance to the old world where love blooms.
John Hurt is great as the fascist leader. He tears into the scene with menace… his hatred for everything oozes with heart-wrenching monstrosity. He’s a big bully on a playground that’s too big for him to play in.
I found the last third of the film to really take off. It pounds into action with the feeling of the old Errol Flynn films. Especially V’s last stand against several gunmen. The knife-throwing scenes makes for a highlight.
Despite a disappointing box office opening, with less than the estimated 30 million, the film makes for an alternative movie-going choice. A thinking film about politics. An action film about heroes.
For those not aware of the original 1987 comic book, envisioned by writer Alan Moore and artist David Lloyd, "V for Vendetta" is the pinnacle of its art form--a solid story about a man’s idea against a world that has become a militarilistic society.
Just think 1984. No homosexuals allowed in this world. Neither do the popular arts have a place in this same world.
Despite being surrounded by a fascist state, the character of V targets several superiors. The terrorist renegade is nothing more than an enigma, an everyman behind the smiling mask. Constantly taunting. Turning the tables. Always moving outside of shadows.
Not surprisingly, Alan Moore didn’t want his name associated with the film after getting a bad taste from the recent crapola into celluloid. Most notably, the putrid “League of Extraordinary Men.” Moore felt like someone took a dump on him.
Though I don’t see why Moore should be ashamed of "V for Vendetta." It’s quite good. I got to see it on the Saturday matinee.
The film, written by the Wachowski brothers (the Matrix trilogy team) is a political statement.
Civil liberties are slowly drained away. Life is no longer a sacred thing. People are merely numbers in a prison world. The country of England is turned inside out after a devastating war.
A new vision heralds a stronger government. Sadly, people were longer a matter. The masses are controlled. Like pests in a cage. They soon learn there is no longer an outside world.
In the film, V said he's just an idea. But an idea can be a powerful thing. John F. Kennedy was a man of many ideas. So was Martin Luther King. Their visions live on.
V becomes a wake-up call to the people. Anarchy settles in. Finally they’re aware of their surroundings. Casting down their shells.
V finds a young woman Evey who he takes under his wing. He passes his knowledge to her. So she becomes a replacement. His idea is passed on.
The only problem I have with the film is that it seems too comtemporary. When I read the original comic book, I didn’t know when the hell it was set in. It could’ve been in the mid-1980s. Or the near future. Which makes the book feel more compelling.
Kudos to the film which takes a serviceable amount of the original material and place them on the big screen with certain style. And without overdoing it. Hugo Weaving deserves credit for acting in a role where is face is always covered. Most actors prefer to be recognized. Not Weaving. His booming voice leaves much for our imagination. It trails into darkness like a threat.
I’m glad they kept pivotal scenes from the comic book: the mask-wearing crowds threading through London, the hero's escape from room numbered roman numeral V, and the story of Valerie.
Natalie Portman deserves similar praises. She's especially good when she breaks down, crying, after her journey through the heart of darkness. Learning that there were things outside her world that bears little semblance to the old world where love blooms.
John Hurt is great as the fascist leader. He tears into the scene with menace… his hatred for everything oozes with heart-wrenching monstrosity. He’s a big bully on a playground that’s too big for him to play in.
I found the last third of the film to really take off. It pounds into action with the feeling of the old Errol Flynn films. Especially V’s last stand against several gunmen. The knife-throwing scenes makes for a highlight.
Despite a disappointing box office opening, with less than the estimated 30 million, the film makes for an alternative movie-going choice. A thinking film about politics. An action film about heroes.
posted by K.M. Paters at 10:02 PM
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