what can a poor boy do
Every once in a while, a film comes along that I'm not expecting. This is no small task, considering that much of my social life is planned around movie release schedules. More to the point, however, I love finding movies I wasn't planning on going to see originally and I love it even more when they turn out to be really good.
Case in point: V for Vendetta.
Now, I had read a bit of the comic. I found it interesting, if a little verbose for my attention span at the time. Still, I hadn't read enough to make the film adaptation rocket to the top of my must-see list. Now, of course, I'm going to have to, because the film is amazing.
Summary of the plot would be redundant because you've no doubt already surmised it from the promotion and discussion of the film. Suffice to say it's all the best elements of 1984, your high school world history class, and the Batman mythos all rolled into one. That alone makes it damn near an Oscar contender, but the fact that there's actually idea and thought behind the film makes it even better.
I'll get the technical and artistic pleasantries out of the way before I discuss that, however. Natalie Portman is, per usual, amazing. This may well be her best role yet, and certainly the one that has demanded the most of her. Throughout the span of the film, Evey Hammond goes through a complete shift in character, one that so fundamentally alters what she is about that a lesser actress would have simply dropped the ball. Where others would fumble, Portman runs with it, and serves as the film's emotional and intellectual core; she is a perfect cipher for the audience. Longtime friends and readers will remember that I am a huge fan of Hugo "The Only Reason to Watch the Matrix Sequels" Weaving, and he's absolutely captivating in this movie, moreso because he has to perform all of it while wearing a mask that allows for neither movement of the eyes nor mouth. For an actor with a face as expressive as Weaving's, this should seem a handicap, but his body language and vocal delivery more than make up for it, and his V becomes a charismatic, damaged, and yet questionable rogue. There are other standouts, as well - John Hurt is downright scary as the opportunistic head of government, and Stephen Fry is likeable and tragic as doomed TV star Dietrich.
But beyond mere star power, a movie like this lives and dies by its ideas and the imagery it presents. V for Vendetta presents both with aplomb. The images this film puts forth are powerful, to say the least; the opening "fireworks show" is shocking, the gradual boiling-over of the people of London is horrific and inspiring at the same time, and the film's ending sequence is so powerful I actually tingled. The music is used to brilliant effect, as well - old ballads are used as effectively as the 1812 Overture, and the end credits makes brilliant use of the Rolling Stones' "Street Fighting Man", a song which fits the movie brilliantly and energizes you even more as you leave the theater. To say that the film is a success on the audio and visual level is understatement; to say that it is a masterpiece of using imagery and sound to inspire emotion is closer to what it really is. The only blemish on this otherwise visually spotless film is a rather unnecessary "bullet time" sequence towards the end. While some use of the technology is necessary from a storytelling standpoint, the entire scene does not need to be in slow motion. It cheapens the sequence to an extent, and serves only to remind us of the Wachowskis' previous effort* - hardly a positive thing to bring to this film. Still, it works.
But it's the ideas that will stick with you long after the end credits roll. The notion that an idea, a fundamental belief worth fighting for, cannot be silenced or killed. The idea that the people are smart enough, given the right prompting, can see through what they are told is best for them. That horrible things can be accomplished with the best of intentions. The feeling you get in the pit of your stomach when you see the last vestiges of the architectural and intellectual "old guard" that allow for a fascist government topple and fall. The idea that you could do more for yourself and the world around you if you were willing to lose everything.
Yes, V for Vendetta is a powerful film. It's a film that will make you wonder, think, pontificate. It inspired fascinating discussion on the car ride back from the theater. It doesn't hold your hand or force you to follow any particular line of thinking. I have a feeling that liberals, conservatives, and otherwise will all take away different interpretations from this movie. And that's what makes it so powerful. The film is what you bring to it. You can watch it on a purely superficial level and be entertained, or put some thought into it and be spellbound afterward.
My associate, stevencwatts, told me that he didn't like how the movie didn't flesh out the questions it raises. My response is simply this: it shouldn't have to. It simply presents the concepts - it is up to the viewer to draw their own conclusions about how they think and feel. Is V a hero? The movie seems to portray him as such, and perhaps oversimplifies Moore's work in doing so. But the fact that I even ask the question already speaks volumes for the depth of the film. In your average Hollywood blockbuster, "good" and "bad" are clearly defined. Yes, V is an inspiration to the people of London, and serves to topple a corrupt regime. But V murders numerous people and demolishes historic landmarks, destroying both lives and buildings. Are these the acts of a hero? If you have an answer right away, regardless of the answer, you're not thinking hard enough.
But beyond the simple notions of good and evil, I find myself wondering why fewer people take a stand. Why I shouldn't take a stand. God knows, there are things in my life that may well be improved if I simply put my foot down and say "enough is enough". But I don't, for fear of what may happen after the status quo is changed. For fear that I may end up doing more harm than good. Why rock the boat? And yet...how will things get better if I don't take that risk? It's appropriate I saw V for Vendetta on a night where my mind was already focused on issues like these thanks to recent personal events. I can't take the cliche route of saying this movie made me want to take a stand. But it reinforced in me the idea that if I do not at least try, then nothing will ever change.
And that is perhaps the best thing I can take away from it. I suspect the film won't affect everyone the same way it affected me - it is foolish to assume so. But it hit me at the right moment in time, and I doubt I'll stop thinking about it for a while. I suppose any film that not only inspires conversations about fascism and the role of the hero as well as prods me to get some things sorted out in my mind is worth five star-type thingies. At least.
Go see it. Maybe you'll have different things to take away from it, and I'd like to hear them.
* - Contrary to popular belief, the Wachowskis did not direct this film. That honor goes to James McTeigue, who does a bang-up job. The Wachowskis wisely stuck to writing the script and producing. They are now close to redeeming themselves for The Matrix: Revolutions. But only close.
Case in point: V for Vendetta.
Now, I had read a bit of the comic. I found it interesting, if a little verbose for my attention span at the time. Still, I hadn't read enough to make the film adaptation rocket to the top of my must-see list. Now, of course, I'm going to have to, because the film is amazing.
Summary of the plot would be redundant because you've no doubt already surmised it from the promotion and discussion of the film. Suffice to say it's all the best elements of 1984, your high school world history class, and the Batman mythos all rolled into one. That alone makes it damn near an Oscar contender, but the fact that there's actually idea and thought behind the film makes it even better.
I'll get the technical and artistic pleasantries out of the way before I discuss that, however. Natalie Portman is, per usual, amazing. This may well be her best role yet, and certainly the one that has demanded the most of her. Throughout the span of the film, Evey Hammond goes through a complete shift in character, one that so fundamentally alters what she is about that a lesser actress would have simply dropped the ball. Where others would fumble, Portman runs with it, and serves as the film's emotional and intellectual core; she is a perfect cipher for the audience. Longtime friends and readers will remember that I am a huge fan of Hugo "The Only Reason to Watch the Matrix Sequels" Weaving, and he's absolutely captivating in this movie, moreso because he has to perform all of it while wearing a mask that allows for neither movement of the eyes nor mouth. For an actor with a face as expressive as Weaving's, this should seem a handicap, but his body language and vocal delivery more than make up for it, and his V becomes a charismatic, damaged, and yet questionable rogue. There are other standouts, as well - John Hurt is downright scary as the opportunistic head of government, and Stephen Fry is likeable and tragic as doomed TV star Dietrich.
But beyond mere star power, a movie like this lives and dies by its ideas and the imagery it presents. V for Vendetta presents both with aplomb. The images this film puts forth are powerful, to say the least; the opening "fireworks show" is shocking, the gradual boiling-over of the people of London is horrific and inspiring at the same time, and the film's ending sequence is so powerful I actually tingled. The music is used to brilliant effect, as well - old ballads are used as effectively as the 1812 Overture, and the end credits makes brilliant use of the Rolling Stones' "Street Fighting Man", a song which fits the movie brilliantly and energizes you even more as you leave the theater. To say that the film is a success on the audio and visual level is understatement; to say that it is a masterpiece of using imagery and sound to inspire emotion is closer to what it really is. The only blemish on this otherwise visually spotless film is a rather unnecessary "bullet time" sequence towards the end. While some use of the technology is necessary from a storytelling standpoint, the entire scene does not need to be in slow motion. It cheapens the sequence to an extent, and serves only to remind us of the Wachowskis' previous effort* - hardly a positive thing to bring to this film. Still, it works.
But it's the ideas that will stick with you long after the end credits roll. The notion that an idea, a fundamental belief worth fighting for, cannot be silenced or killed. The idea that the people are smart enough, given the right prompting, can see through what they are told is best for them. That horrible things can be accomplished with the best of intentions. The feeling you get in the pit of your stomach when you see the last vestiges of the architectural and intellectual "old guard" that allow for a fascist government topple and fall. The idea that you could do more for yourself and the world around you if you were willing to lose everything.
Yes, V for Vendetta is a powerful film. It's a film that will make you wonder, think, pontificate. It inspired fascinating discussion on the car ride back from the theater. It doesn't hold your hand or force you to follow any particular line of thinking. I have a feeling that liberals, conservatives, and otherwise will all take away different interpretations from this movie. And that's what makes it so powerful. The film is what you bring to it. You can watch it on a purely superficial level and be entertained, or put some thought into it and be spellbound afterward.
My associate, stevencwatts, told me that he didn't like how the movie didn't flesh out the questions it raises. My response is simply this: it shouldn't have to. It simply presents the concepts - it is up to the viewer to draw their own conclusions about how they think and feel. Is V a hero? The movie seems to portray him as such, and perhaps oversimplifies Moore's work in doing so. But the fact that I even ask the question already speaks volumes for the depth of the film. In your average Hollywood blockbuster, "good" and "bad" are clearly defined. Yes, V is an inspiration to the people of London, and serves to topple a corrupt regime. But V murders numerous people and demolishes historic landmarks, destroying both lives and buildings. Are these the acts of a hero? If you have an answer right away, regardless of the answer, you're not thinking hard enough.
But beyond the simple notions of good and evil, I find myself wondering why fewer people take a stand. Why I shouldn't take a stand. God knows, there are things in my life that may well be improved if I simply put my foot down and say "enough is enough". But I don't, for fear of what may happen after the status quo is changed. For fear that I may end up doing more harm than good. Why rock the boat? And yet...how will things get better if I don't take that risk? It's appropriate I saw V for Vendetta on a night where my mind was already focused on issues like these thanks to recent personal events. I can't take the cliche route of saying this movie made me want to take a stand. But it reinforced in me the idea that if I do not at least try, then nothing will ever change.
And that is perhaps the best thing I can take away from it. I suspect the film won't affect everyone the same way it affected me - it is foolish to assume so. But it hit me at the right moment in time, and I doubt I'll stop thinking about it for a while. I suppose any film that not only inspires conversations about fascism and the role of the hero as well as prods me to get some things sorted out in my mind is worth five star-type thingies. At least.
Go see it. Maybe you'll have different things to take away from it, and I'd like to hear them.
* - Contrary to popular belief, the Wachowskis did not direct this film. That honor goes to James McTeigue, who does a bang-up job. The Wachowskis wisely stuck to writing the script and producing. They are now close to redeeming themselves for The Matrix: Revolutions. But only close.