Though this column delves into topics as varied as society, economics, and politics, on occasion topics of entertainment sufficiently bleed into the issues of the day as to warrant comment. One such work is the recently released film, "
V for Vendetta." Though somewhat flawed, "V" presents issues from terror, factionalism, and repression to the dangers of liberal democracy devolving into authoritarian fascism. Presented in a near-futuristic dystopian genre, the film consistently entertains, offering a thrill ride of drama, subterfuge, action and as the title suggests, vendetta.
After an almost hopeless year in film in 2005 that offered virtually no reason to go to the movie theater (let alone view a cloyingly depressing Oscar slate), "V" finally provides a reason to go to the movies again. Released in both the standard 35mm format, as well as a stunning 70mm IMAX cut, the movie quickly draws you in to its Orwellian world of governmental dominance. Produced by the same Wachowski brothers that brought us the Matrix series of films, you know you're in for some stunning sights and sounds.
"V for Vendetta" is, at its heart, a revenge thriller based loosely on "The Count of Monte Christo." It is set in a post-apocalyptic London, sometime in the 2020's. The title character "V," played by a fabulously masked Hugo Weaving (Agent Smith from the Matrix) sets out to exact vengeance on senior members of a repressive government regime while in the process, setting the people of England free from a tyranny of their own creation.
The film begins with the nursery rhyme "Remember remember the fifth of November gunpowder, treason and plot. I see no reason why gunpowder, treason should ever be forgot." As a frightened Natalie Portman is preyed upon by government enforcers known as fingermen, the
Guy Fawkes masked "V," comes to her rescue, instantly sealing his hero credentials. We soon learn that "V" likes to set things on fire, and like his historical alter-ego, plots to destroy the houses of parliament with large amounts of gunpowder. While the new "gunpowder plot" makes up one of the film's primary threads, we seem to forget that Guy Fawkes was not the hero of November 5th, but rather the villain. The original Fawkes was a 17th Century Catholic mercenary hired to kill the protestant English King James I and his assembled parliament. His capture and execution are celebrated on November 5th, not the gunpowder plot itself.
Much like depression-stricken Weimar Germany of the 1930's voting for Hitler, a terror ravaged Britain voted for its own brand of fascists vowing to restore "order and security." The protagonist "V," soon to be joined by the ever talented Natalie Portman as "Evie" remind us how quickly we can lose the freedoms and liberties we enjoy if we fall prey to fear and mistrust. Unfortunately, the Wachowski brothers chose to put the source of the fear and mistrust that drove Britain to fascist madness as -- have you guessed it yet? -- the United States. America is shown (briefly) in the film to be in the midst of a bloody civil war rendering us impotent to do anything for our erstwhile cousins in Britain. The reason for all this global uneasiness? "America's War," mentioned as background images of the US Military in Iraq flash by, created a world of utter chaos and terror causing Western society to all but fall apart.
"V's" vendetta against the government for what they have done to him personally, as well as society at large, turns him into a rather likable terrorist. Therein lies the other problem with this film. As the
New York Times wonders, "Is the man in the mask who wants to make Parliament go boom Osama bin Laden or Patrick Henry?" The audience find themselves rooting for "V" as he kills and maims both the guilty alongside the innocent in plenty of wanton violence designed to "wake up" the people at large. One man's terrorist has always been another man's freedom fighter, however the distinction always lies in the guilt of the targeted. The film, originally slated for a November 5th release, was ironically delayed because of the London tube bombings of the time.
Despite its obvious political overtones, "V for Vendetta" is recommended for its thought provoking themes, clever dialog, and stunning visuals. It is unfortunate, however, that the film's themes are often paradoxical and only serve to reinforce a uniquely Western self-loathing introspection. Following the movie I couldn't help but think that it was important for them to make the point that America was immobilized by civil war and therefore unable to come to the rescue. After all, the America of today would never stand idly by and allow Europe to fall into totalitarian chaos. Three times in the twentieth century we intervened to prevent just that.
One of the aspects that sets Western societies apart from the rest of the world is that we are able to look at our own faults and learn from them. To us, this is an integral part of our political and sociological heritage. To many others, notably in the Islamic world, admitting fault or internal problems is a loss of face and thus tantamount to suicide and loss of power. Let us not forget that combating intolerance and fighting for liberal pluralism is precisely how we must defend our way of life. "V for Vendetta" rightly points out that eternal vigilance is the price we pay for liberty (Thomas Jefferson), but gets lost in not recognizing that that is precisely what America is doing today.