“V For Vendetta”, based on the graphic novel by Alan Moore (“From Hell”) and David Lloyd, has been refashioned by the Warshowski Brothers (“The Matrix”) as a cold Stalinist world of corrupt politicos, henchmen as cops and a singular dictator (John Hurt) who protects himself by ordering the murder of anyone who betrays or questions him. Into this cruel society has emerged a superhero, one with Machiavellian methods that are at times as brutal as his arch-enemies.
V (Hugo Weaving), a deformed creature, wears a mask and fawns over a young woman (Natalie Portman). Unlike Gaston Leroux’s famed “Phantom of the Opera”, V has lofty ambitions and is truly out to protect the disenfranchised.
Weaving revels in the language of the Warshowskis’ literate script. Prancing around alliterations or fencing like his favorite actor Ronald Coleman, his V appears to enjoy the havoc he’s caused for his vicious, but in the end, inept rulers. Portman is angelic as the lost orphan woman-child, discovering her strength through V’s machinations. At times willowy, at others magnetic, Portman traces the map to her character’s evolution with precision, taking the audience along for the ride.
First-time director James McTeigue draws a correlation with George Orwell’s “1984” with visual motifs, and by casting Hurt as the villain. (Hurt once played Orwell’s hero Winston in Michael Radford’s film version of the novel.) Cinematographer Adrian Biddle devises some remarkable set pieces, particularly an overhead shot of the proletariat overtaking the fascist leaders, and some riveting explosions, working hand in hand with Owen Paterson’s vivid production design.
A feast of sights and relevant commentary on today’s society, “V For Vendetta” is epic in telling and showing. “V For Vendetta”: A |
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