V For Vendetta Review by Clint Morris
It feels wrong comparing a film to Pamela Anderson, but there is really no better example: V for Vendetta has both the brains and the beauty of the former tog-donner, and unquestionably stays afloat just as long. One of the more different comic book movies to date (or, graphic novel inspired films, as is the case here), Vendetta
snatches its template from the Alan Moore-penned yarn of the same name.
Released in 1982, it told of a revolutionary hero who takes on a
totalitarian government that’s partly responsible for the
torturous life ‘V’ has had to bear. “This
visage, no mere veneer of vanity, is it vestige of the vox populi, now
vacant, vanished, as the once vital voice of the verisimilitude now
venerates what they once vilified. However, this valorous visitation of
a by-gone vexation, stands vivified, and has vowed to vanquish these
venal and virulent vermin van-guarding vice and vouchsafing the
violently vicious and voracious violation of volition. The only verdict
is vengeance; a vendetta, held as a votive, not in vain, for the value
and veracity of such shall one day vindicate the vigilant and the
virtuous. Verily, this vichyssoise of verbiage veers most verbose
vis-à-vis an introduction, and so it is my very good honor to
meet you and you may call me V.” Get all that? OK, fair enough, here comes the synopsis: The
film begins with a rhyme that commemorates Guy Fawkes night, and
proceeds to remind us what happened on that night in 1605 when said
legend tried to blow up the Houses of Parliament and King James. For
several years to follow, people would remember the gallant attack
– celebrating it on November 5th – but rather quickly
after, everyone forgot. The film then fast-forwards into
the future – 2015, to be exact – where we learn that London
is now a a totalitarian state ruled over by a maniacal Chancellor (John
Hurt), who has created a world near without a hint of freedom. A
masked-man named ‘V’ (Hugo Weaving, stepping in for James
Purefoy at the 11th Hour) may be the saving grace of society. Our caped
swordsman is here to blow up a few landmarks, kill a few
wrong-doers….and make a friend in the lost Evey (Natalie
Portman), someone whose a torture away from unleashing hell on the
bastard government herself. But first, of course, ‘V’ has
to awaken that shrouded bravery inside of her. The delay in
getting this to the screen may have been an unintended one – for
instance, a studio wondering whether such a film would have appeal?
– or it may have been a calculatingly programmed one. It is,
after all, a film seemingly more relevant to what’s going on
today. Whereas Batman or Spider-Man dazzle with
you their razzle-dazzle effects, and the extraordinary powers of
their titular characters, this film amazes you with it’s
ability to unashamedly point the finger at the government, ultimately
leaving audiences wondering whether the heads of our countries
aren’t far worse villains than any Joker, Scarecrow, Doc Ock or
Braniac. Vendetta has been correctly marketed as anything
but a comic-book film. Those that do see the DC/Vertigo Comics flash
upon the screen during the trailer or pre-credit sequence, and then
prepare themselves for a full-on superhero adventure, will indubitably
be disappointed. There’s nothing in this to suggest
“V” even exists in the same world as Bruce Wayne, Tony
Stark or Wally West. In fact, the lead character's powers lie solely in
his very humanistic traits of bravery, courage and the willingness to
stand up against the big man. The mask our lead wears is possibly the
only thing he shares with other heroes of the genre. In fact, Vendetta
has a storyline that’ll surprise even the biggest lovers of the
art form. It’s smarter than one will unquestionably expect, and
has messages that will tingle around your noggin for days to follow. As
Evey, Natalie Portman is as commanding as she is cute. It’s hard
to imagine anyone else having the same impact. It’s a dream part
for the former Queen of Naboo. In addition, and despite never seeing
his face, Hugo Weaving seems to be right at home as ‘V’. At
first the ‘he’s obviously recorded his lines, well after
the fact, and Portman is merely having a conversation with a mute in a
mask’ element to their scenes was a little irksome, but credit to
the actors, because you’ve forgotten about the early beef within
minutes of the thought entering you head. In addition to Portman and
Weaving, the always-dependable Stephen Fry shines in his small role as
an amiable, but misunderstood, co-worker of Evey’s. You
don’t have to be an editor to see that the film did need trimming
in a few spots – if only to make the ride just that little bit
more exciting – but it’s always good to have a little bit
more, than a little bit less, isn’t it? Still, a
quick cut here and there would’ve made it made just that tad more
exciting. Having said that, you can’t argue that V for Vendetta – like Sin City
before it – is a very loyal transfer of literature to film, and
considering that doesn’t happen a lot (case in point, the recent
film adaptation of another Moore series, the League of Extraordinary Gentlemen), that’s a fine deed. 3.5 out of 5
V For Vendetta
Australian release: 30th March, 2006
Cast: Natalie Portman, Hugo Weaving, John Hurt, Stephen Rea, Stephen Fry
Director: James McTeigue
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