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Editorial Reviews
Amazon.com
"Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a man on a mission to shake society out of its blank complacent stares in the film V for Vendetta. His tactics, however, are a bit revolutionary, to say the least. The world in which V lives is very similar to Orwell's totalitarian dystopia in 1984: after years of various wars, England is now under "big brother" Chancellor Adam Sutler (played by John Hurt, who played Winston Smith in the movie 1984), whose party uses force and fear to run the nation. After they gained power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media. Taking inspiration from Guy Fawkes, the 17th century co-conspirator of a failed attempt to blow up Parliament on November 5, 1605, V dons a Fawkes mask and costume and sets off to wake the masses by destroying the symbols of their oppressors, literally and figuratively. At the beginning of his vendetta, V rescues Evey (Natalie Portman) from a group of police officers and has her live with him in his underworld lair. It is through their relationship where we learn how V became V, the extremities of the party's corruption, the problems of an oppressive government, V's revenge plot, and his philosophy on how to induce change.
From The New Yorker
A dunderheaded pop fantasia that celebrates terrorism and destruction. The graphic-novel creators Alan Moore and David Lloyd conceived the material in the nineteen-eighties during the reign of Margaret Thatcher. Setting their work in 1997, they projected a fascist future for England and a rebel hero—a terrorist in a Guy Fawkes mask who blows up the Parliament buildings and the Prime Minister's residence. The producer, Joel Silver, and the Wachowskis, Larry and Andy, grafted references to the current condition of warfare and fear onto this template, lifting details out of Orwell's "1984" and a variety of pop myths. Hugo Weaving is the caped and masked man who kills and blows things up; Natalie Portman is the innocent who becomes his victim and his follower. The movie has some visual life to it, but it's so foolish that you come out shaking your head. Among other things, the ineptitude of "Vendetta" suggests that pop isn't a very good mode for political allegory. With Stephen Rea. Directed by the Wachowski brothers' protégé, James McTeigue.
Copyright © 2006
"Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a man on a mission to shake society out of its blank complacent stares in the film V for Vendetta. His tactics, however, are a bit revolutionary, to say the least. The world in which V lives is very similar to Orwell's totalitarian dystopia in 1984: after years of various wars, England is now under "big brother" Chancellor Adam Sutler (played by John Hurt, who played Winston Smith in the movie 1984), whose party uses force and fear to run the nation. After they gained power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media. Taking inspiration from Guy Fawkes, the 17th century co-conspirator of a failed attempt to blow up Parliament on November 5, 1605, V dons a Fawkes mask and costume and sets off to wake the masses by destroying the symbols of their oppressors, literally and figuratively. At the beginning of his vendetta, V rescues Evey (Natalie Portman) from a group of police officers and has her live with him in his underworld lair. It is through their relationship where we learn how V became V, the extremities of the party's corruption, the problems of an oppressive government, V's revenge plot, and his philosophy on how to induce change.
Based on the popular graphic novel by Alan Moore, V for Vendetta's screenplay was written by the Wachowski brothers (of The Matrix fame) and directed by their protégé, James McTeigue. Controversy and criticism followed the film since its inception, from the hyper-stylized use of anarchistic terrorism to overthrow a corrupt government and the blatant jabs at the current U.S. political arena, to graphic novel fans complaining about the reconstruction of Alan Moore's original vision (Moore himself has dismissed the film). Many are valid critiques and opinions, but there's no hiding the message the film is trying to express: Radical and drastic events often need to occur in order to shake people out of their state of indifference in order to bring about real change. Unfortunately, the movie only offers a means with no ends, and those looking for answers may find the film stylish, but a bit empty. --Rob Bracco
Beyond Vendetta
 The graphic novel by Alan Moore and David Lloyd |  More by Alan Moore |  From Graphic Novel to Big Screen |
 More by Natalie Portman |  More by Hugo Weaving |  More by the Wachowski Brothers |
From The New Yorker
A dunderheaded pop fantasia that celebrates terrorism and destruction. The graphic-novel creators Alan Moore and David Lloyd conceived the material in the nineteen-eighties during the reign of Margaret Thatcher. Setting their work in 1997, they projected a fascist future for England and a rebel hero—a terrorist in a Guy Fawkes mask who blows up the Parliament buildings and the Prime Minister's residence. The producer, Joel Silver, and the Wachowskis, Larry and Andy, grafted references to the current condition of warfare and fear onto this template, lifting details out of Orwell's "1984" and a variety of pop myths. Hugo Weaving is the caped and masked man who kills and blows things up; Natalie Portman is the innocent who becomes his victim and his follower. The movie has some visual life to it, but it's so foolish that you come out shaking your head. Among other things, the ineptitude of "Vendetta" suggests that pop isn't a very good mode for political allegory. With Stephen Rea. Directed by the Wachowski brothers' protégé, James McTeigue.
Copyright © 2006