V for Vendetta (film)

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V for Vendetta
Promotional poster for V for Vendetta
Directed by	James McTeigue
Produced by	Joel Silver Silver Pictures Wachowski Brothers Grant Hill Lorne Orleans
Written by	Comic Book: Alan Moore (uncredited) David Lloyd Screenplay: Wachowski Brothers
Starring	Natalie Portman Hugo Weaving Stephen Rea Stephen Fry John Hurt
Music by	Original: Dario Marianelli Non-Original: Pyotr Ilyich Tchaikovsky Ludwig van Beethoven
Cinematography	Adrian Biddle
Editing by	Martin Walsh
Distributed by	Warner Bros.
Release date(s)	United States: United Kingdom: March 17, 2006 Australia: March 30, 2006
Running time	132 min.
Country	United Kingdom United States Germany
Language	English
Budget	$54 million[1]
Gross revenue	$132,511,035[1]
Official website
All Movie Guide profile
IMDb profile

V (Hugo Weaving) and Evey Hammond (Natalie Portman) in the Shadow Gallery. Evey is taken there after their escape from the BTN building.

V for Vendetta is a 2006 action-thriller directed by James McTeigue and produced by Joel Silver and the Wachowski brothers, who also wrote the screenplay. The film is an adaptation of the graphic novel V for Vendetta by Alan Moore and David Lloyd. Set in London, England in a near-future dystopian society, the film follows the mysterious V, a freedom fighter seeking to effect sociopolitical change while simultaneously pursuing his own violent personal vendetta. The film stars Natalie Portman as Evey Hammond, Hugo Weaving as V, Stephen Rea as Inspector Finch and John Hurt as Chancellor Sutler.

The film's release was originally scheduled for Friday, November 4, 2005 (a day before the 400th Guy Fawkes Night), but was delayed; it opened on March 17, 2006. Alan Moore, facing his disappointment in both From Hell and The League of Extraordinary Gentlemen, refused to view the film and subsequently distanced himself from it. The filmmakers removed many of the anarchist themes and drug references present in the original story and also altered the political message to what they believed would be more relevant to a 2006 audience.

[edit] Plot

In the near future, Britain is ruled by a totalitarian regime called Norsefire. Evey Hammond, a young woman, is rescued from harassment by state police by a masked vigilante known as "V". After rescuing her, V takes Evey to a rooftop location to witness his spectacular destruction of the Old Bailey accompanied by Tchaikovsky's 1812 Overture. The regime explains the incident to the public as a planned demolition, but this is shown to be a lie when V takes over the state-run British Television Network (BTN) the same day. He broadcasts a message urging the people of Britain to rise up against the oppressive government on November 5 (Guy Fawkes Night); one year from that day, when V says he will destroy the Houses of Parliament.

Evey, who works at the BTN, helps V to escape, but in doing so, puts herself in danger. V saves Evey by bringing her to his lair, where she is told that she must stay in hiding with him for a year. She reluctantly stays for some time, but upon learning that V is killing government officials, she escapes to the home of one of her superiors, Gordon Deitrich, who is also a good friend (and, unlike in the comic, a homosexual who has hidden his true nature for fear of being arrested). However, the state police raid Gordon's home shortly afterwards, after Gordon satirises the High Chancellor in his talk show. Evey is captured as she tries to escape. She is incarcerated and tortured for days, including having her head shaved, finding solace only in notes left by another prisoner, Valerie. Evey is eventually told that she will be executed unless she reveals V's whereabouts. An exhausted Evey says she would rather die, and, surprisingly, is then released. V then reveals himself to have been her captor. Evey comes to realize that having faced her own death, she can now live without fear. She leaves V, promising to return before November 5.

Meanwhile, Chief Inspector Finch, while investigating V's activities, learns how Norsefire came to power, and about V’s origins. Twenty years previously, Britain had suffered from war and terrorism. The socially-conservative and openly fascist Norsefire party led a reactionary purge to restore order; so-called enemies of the state disappeared during the night. The country was deeply divided over the loss of freedom until a bioterrorist attack occurred, killing about 100,000 people (80,000 to be exact according to an article Finch is seen reading on his office computer). The fear generated by the attack allowed Norsefire to silence all opposition and win the next election by a landslide. A cure for the virus was discovered soon afterwards. With the silent consent of the people, Norsefire turned Britain into a bigoted totalitarian republic, with their leader Adam Sutler as High Chancellor.

From this revelation, the inspector predicts the chain of coming events. Narrated by him, he explains the brilliance of V's plan. His manipulation, hidden agenda, and finally the shipping out hundreds of thousands of Guy Fawkes masks to homes throughout Britain. The following scenes show a hold up in a store by a man in a Guy Fawkes mask, who yells "Anarchy in the U.K." a reference to the Sex Pistols song as well as to the V of the comic book who thought himself more of an anarchist than a freedom fighter. Another shows a young girl playing in a mask, who is shot by a government agent. As angry citizens surround the agent and assault him regardless of his badge and gun, this event symbolizes the growing rebellion.

However, the viral catastrophe had actually been engineered by Norsefire as a plot to gain power. The virus had been engineered through deadly experimentation on "social deviants" and political dissidents at Larkhill detention centre. V had been one of the prisoners, but instead of being killed by the experiments, he had gained heightened mental and physical abilities. V eventually destroyed the centre and escaped, vowing to take revenge on Norsefire's regime.

As November the fifth nears, V's various schemes cause chaos in Britain and the population grows more and more intolerant and subversive towards government authority. On the eve of November 5, Evey again visits V, who shows her a train that he has filled with explosives in order to destroy Parliament through an explosion in the abandoned London Underground. He delegates the destruction of Parliament to Evey, believing that the ultimate decision should not come from him. He then leaves to meet Party leader Creedy, who, as part of an earlier agreement, has agreed to bring V the Chancellor in exchange for V's surrender. Creedy kills the Chancellor in front of V, but V does not surrender. He takes a barrage of bullets from a dozen men, and remains standing thanks to a hidden armour plate he is wearing. He then proceeds to kill Creedy and his men before they can reload and with his hand around Creedy's neck just like he promised them. V, mortally wounded in the fight, returns to Evey. He confesses his love to her, thanks her, and then dies. His body is placed upon the train with the explosives.

Evey is about to send the train down the track, when she is discovered by Inspector Finch. However, Finch, having learned much about the corruption of the Norsefire regime, allows Evey to proceed. Meanwhile, thousands of Londoners, all wearing Guy Fawkes masks, march on Parliament to watch the event. Because Creedy and the Chancellor are dead, the military stands down in the face of a civil rebellion. Parliament is destroyed by the explosion. On a nearby rooftop Evey and Finch watch the scene together, and Finch asks who V was. Evey answers by saying that he is all the people of Britain. The camera shows the crowd again as they remove their Guy Fawkes masks and reveal characters from the film, including deceased characters such as the young girl, Gordon, Valerie and Ruth.

[edit] Cast

• Hugo Weaving as V: James Purefoy was originally cast as V but left six weeks into filming due to difficulties wearing the mask for the entire film.^[2] He was replaced by Hugo Weaving, who previously worked with Joel Silver and the Wachowski brothers on The Matrix Trilogy as Agent Smith. Portions of the film, however, contain scenes with Purefoy playing V with a dubbing from Weaving.^[3]
• Natalie Portman as Evey Hammond: Director James McTeigue first met Portman on the set of Attack of the Clones, where he worked with her as assistant director. In preparing for the role, Portman worked with dialectologist Barbara Berkery in order to perform with an English accent. She also studied films such as The Weather Underground and read the autobiography of Menachem Begin.^[4] Portman received top billing for the film. Portman's role in the film has parallels to her role as Mathilda Lando in the film Léon.^[5] According to Portman, "The relationship between V and Evey has a complication [like] the relationship in that film."^[6]
• Stephen Rea as Chief Inspector Eric Finch: Finch is the lead inspector in the V investigation, who, during his investigation, uncovers an unspeakable government crime. Rea is no stranger to politics and terrorism, as he was once married to Dolours Price, a former member of the IRA, imprisoned for bombing the Old Bailey. When asked whether the politics attracted him to the film, Rea replied "Well, I don’t think it would be very interesting if it was just comic-book stuff." "The politics of it are what gives it its dimension and momentum, and of course I was interested in the politics. Why wouldn’t I be?"^[7]
• John Hurt as High Chancellor Adam Sutler: A former Conservative MP and Under-Secretary for Defence, Chancellor Sutler was the founder of Norsefire and is the de facto dictator of Britain. Hurt acted a contrary role in another dystopian film: Winston Smith, a victim of the state in the film adaptation of Nineteen Eighty-Four.^[8][9]
• Stephen Fry as Gordon Deitrich: Talk show host Gordon Deitrich is a closeted homosexual who, due to the restrictions of the regime, has "lost his appetite" over the years. When asked in an interview what he liked about the role, Fry replied, "Being beaten up! I hadn't been beaten up in a movie before and I was very excited by the idea of being clubbed to death."^[10]
• Sinead Cusack as Dr. Delia Surridge: Dr. Surridge was the head physician at the Larkhill detention centre. V states that the torture and death at Larkhill was only possible because of her research. Surridge, unlike the other victims of V, proves to have a conscience and feels guilty about the crimes she committed, this may explain why V gave her a painless poison, rather than a drug overdose like his other victims.
• John Standing as Bishop Anthony James Lilliman: Lilliman is a corrupt paedophile bishop at Westminster Abbey, installed into this position by Sutler. Lilliman was a Reverend at the Larkhill center. He was warned by Evey Hammond when she was undercover as a prostitute. He was wounded by V and was killed by a drug overdose. In regards to his role as Lilliman, Standing remarks, "I thoroughly enjoyed playing Lilliman... because he's slightly comic and utterly atrocious. Lovely to do."^[4]
• Tim Pigott-Smith as Peter Creedy: Creedy is both Norsefire's party leader and the head of Britain's Secret Police, the Finger. While Sutler is the Chancellor, the real power of the regime lies with Creedy. Creedy comes under fire when the Chancellor threatens him after he fails to stop V. Creedy kills Sutler in the end and is killed in turn when V snaps his neck.^[4]
• Rupert Graves as Detective Sergeant Dominic Stone: Dominic is Inspector Finch’s lieutenant in the V investigation.
• Natasha Wightman as Valerie Page: Valerie was one of the "social-undesirables" imprisoned by the Norsefire government. Valerie was played by Imogen Poots in flashbacks to her childhood. Her symbolic role as a victim of the state was received positively by many LGBT critics. Film critic Michael Jensen praised the extraordinarily powerful moment of Valerie's scene "not just because it is beautifully acted and well-written, but because it is so utterly unexpected [in a Hollywood film]."^[11]
• Roger Allam as Lewis Prothero: Lewis Prothero, "The Voice of London", is a mouthpiece for the Norsefire government. He was the former Commander of the Larkhill facility. He presented a show on the BTN. He was killed by V. He has been viewed as a parody of American right-wing pundits such as Bill O'Reilly and Rush Limbaugh by critics and commentators.^[12][9]
• Ben Miles as Roger Dascombe: Though never explicitly mentioned in the film, Dascombe is Sutler's head of the propaganda division. He defuses the bomb in the Jordon Tower. Dascombe is a junior member of the Norsefire Cabinet. His fate is unknown but he was either killed or incarcerated.^[4]
• Clive Ashborn as Guy Fawkes: The story of Guy Fawkes is described in the beginning of the film and serves as the historical inspiration for V.
• Guy Henry as Conrad Heyer: A member of Norsefire's cabinet. In the graphic novel, and in the film, he is the head of "The Eye," the visual-surveillance department. His fate is unknown but he couldn't have stayed in the Cabinet and he was presumably removed from office.
• Eddie Marsan as Brian Etheridge: A member of Norsefire's cabinet. In both the graphic novel and film, Etheridge is the head of "The Ear," the audio-surveillance department. He oversees random audio sweeps and massive surveillance vans. He gives several reports to Sutler. His fate is unknown but he was either killed or imprisoned when Norsefire collapsed.

[edit] Development

The film was made by many of the same filmmakers involved in the Matrix trilogy. In 1988, producer Joel Silver acquired the rights to two of Alan Moore's works: V for Vendetta and Watchmen.^[13] The Wachowskis were fans of V for Vendetta and in the mid-1990s, before working on The Matrix, wrote a draft screenplay that closely followed the graphic novel. During the post-production of the second and third Matrix films, they revisited the screenplay and offered the director's role to James McTeigue. All three were intrigued by the themes of the original story and found them to be relevant to the current political landscape. Upon revisiting the screenplay, the Wachowskis set about making revisions to condense and modernize the story, while at the same time attempting to preserve its integrity and themes.^[4] James McTeigue cites the film The Battle of Algiers as his principal influence in preparing to film V for Vendetta.^[4]

Moore explicitly disassociated himself from the film due to his lack of involvement in its writing or directing, as well as due to a continuing series of disputes over film adaptations of his work.^[5] He ended cooperation with his publisher, DC Comics, after its corporate parent, Warner Bros., failed to retract statements about Moore's supposed endorsement of the film. Moore said that the script contained plot holes^[14] and that it ran contrary to the theme of his original work, which was to place two political extremes (fascism and anarchism) against one another. He argues his work had been recast as a story about "current American neo-conservatism vs. current American liberalism".^[15] As per his wishes, Moore's name does not appear in the film's closing credits. Co-creator and illustrator David Lloyd supports the film adaptation, commenting that the script is very good and that Moore would only ever be truly happy with a complete book-to-screen adaptation.^[13]

[edit] Production

V for Vendetta was filmed in London, UK, and in Potsdam, Germany, at Babelsberg Studios. Much of the film was shot on sound stages and indoor sets, with location work done in Berlin for three scenes: the Norsefire rally flashback, Larkhill, and Bishop Lilliman's bedroom. The scenes that took place in the abandoned London Underground were filmed at the disused Aldwych tube station. Filming began in early March 2005 and principal photography officially wrapped in early June 2005.^[13] V for Vendetta is the final film shot by cinematographer Adrian Biddle, who died of a heart attack on December 7, 2005.

The film was designed to have a future-retro look, with a heavy use of grey tones to give a dreary, stagnant feel to totalitarian London. The largest set created for the film was the Shadow Gallery, which was made to feel like a cross between a crypt and an undercroft.^[16] The Gallery is V's home as well as the place where he stores various artifacts forbidden by the government. Some of the works of art displayed in the gallery include The Arnolfini Portrait by Jan van Eyck, Bacchus and Ariadne by Titian, a Mildred Pierce poster, St. Sebastian by Andrea Mantegna, and The Lady of Shalott by John William Waterhouse.

One of the major challenges in the film was how to bring V to life from under an expressionless mask. Thus, considerable effort was made to bring together lighting, acting, and Weaving's voice to create the proper mood for the situation. In order to prevent the mask from muffling Weaving's voice, a microphone was placed in his hairline to aid post-production, when his entire dialogue was re-recorded.^[17]

To film the final scene at Westminster, the area from Trafalgar Square and Whitehall up to Parliament and Big Ben had to be closed for three nights from midnight until 5 a.m. This was the first time the security-sensitive area (home to 10 Downing Street and the Ministry of Defence) had ever been closed to accommodate filming.^[17] Prime Minister (at the time of filming) Tony Blair's son Euan Blair worked on the film's production and is said (according to an interview with Stephen Fry) to have helped the filmmakers obtain the unparalleled filming access. This drew criticism of Blair from MP David Davis due to the content of the film. However, the makers of the film denied Euan Blair's involvement in the deal,^[18] stating that access was acquired through nine months of negotiations with 14 different government departments and agencies.^[17]

[edit] Publicity and release

Natalie Portman speaking at the 2005 San Diego Comic-Con.

The cast and film-makers attended several press conferences that allowed them to address issues surrounding the film, including its authenticity, Alan Moore's reaction to it and its intended political message. The responses given at the conferences^{[citation needed]} made it clear that the film was intended to be a departure from some of Moore's original themes. In the words of Hugo Weaving: "Alan Moore was writing about something which happened some time ago. It was a response to living in Thatcherite England... This is a response to the world in which we live today. So I think that the film and the graphic novel are two separate entities." Regarding the controversial political content in the film the filmmakers have said that the film is intended more to raise questions and add to a dialogue already present in society, rather than provide answers or tell viewers what to think.^[8]

The film takes extensive imagery from the 1605 Gunpowder Plot, where a group of Catholic conspirators plotted to destroy the Houses of Parliament in order to spark a revolution in England.^[13] The film was originally scheduled for release on the weekend of November 5, 2005, the 400th anniversary of the Plot, with the tag line "Remember, remember the 5th of November", taken from a traditional British rhyme memorialising the event. However, the marketing angle lost much of its value when the release date was pushed back to March 17, 2006. Many have speculated that the delay was due to the London tube bombing on July 7 and the failed July 21 bombing.^[19] The film-makers have denied this, saying that the delays were from the need for more time in order to finish the visual effects production.^[20] V for Vendetta had its first major premiere on February 13 at the Berlin Film Festival.^[8] It opened for general release on March 17, 2006 in 3,365 theatres in the United States, the United Kingdom and six other countries.^[1]

[edit] Music

Main article: V for Vendetta (soundtrack)

The V for Vendetta soundtrack was released by Astralwerks Records on March 21, 2006. The original scores from the film's composer, Dario Marianelli, make up most of the tracks on the album. The soundtrack also features three vocals played during the film: "Cry Me a River" by Julie London, a cover of The Velvet Underground song, "I Found a Reason" by Cat Power and "Bird Gerhl" by Antony and the Johnsons. As mentioned in the film, these songs are samples of the 872 blacklisted tracks on V's Wurlitzer jukebox that V "reclaimed" from the Ministry of Objectionable Materials. The climax of Tchaikovsky's 1812 Overture appears at the end of the track "Knives and Bullets (and Cannons too)". The Overture is played at key parts at the beginning and end of the film.

Three songs were played during the ending credits which were not included on the V for Vendetta soundtrack. The first was "Street Fighting Man" by The Rolling Stones. The second was a special version of Ethan Stoller's "BKAB". In keeping with revolutionary tone of the film, excerpts from "On Black Power" by black nationalist leader Malcolm X, and from "Address to the Women of America" by feminist-writer Gloria Steinem were added to the song. Gloria Steinem can be heard saying: "This is no simple reform... It really is a revolution. Sex and race, because they are easy and visible differences, have been the primary ways of organizing human beings into superior and inferior groups and into the cheap labour on which this system still depends." The final song was "Out of Sight" by Spiritualized.

Also in the film were segments from two of Antonio Carlos Jobim's classic bossa nova songs, "The Girl From Ipanema" and "Quiet Nights of Quiet Stars". These songs were played during the "breakfast scenes" with V and Deitrich and were one of the ways used to tie the two characters together. Beethoven's Symphony No.5 also plays an important role in the film, with the first four notes of the song signifying the letter "V" in Morse code.^[21][22] Gordon Deitrich's Benny Hill-styled comedy sketch of Chancellor Sutler includes the "Yakety Sax" theme. Inspector Finch's alarm clock begins the morning of 4 November with the song "Long Black Train" by Richard Hawley, which contains the foreshadowing lyrics "Ride the long black train... take me home black train."

[edit] Themes

V for Vendetta sets the Gunpowder Plot as V’s historical inspiration, contributing to his choice of timing, language and appearance.^[4] For example, the names Rokewood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas' The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.)^[23][24][25] The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the Official Website, "V’s use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity, V becomes more than just a man with a revolutionary idea – he becomes the idea itself":^[4]

"Beneath this mask there is more than flesh... Beneath this mask there is an idea, Mr. Creedy, and ideas are bulletproof."^[26]

As noted by several critics and commentators, the film’s story and style mirrors elements from Gaston Leroux’s Phantom of the Opera.^[27][28] V and the Phantom both wear masks to hide their disfigurements, employ roses, control others through the leverage of their imaginations, have tragic pasts, and are motivated by revenge. V and Evey’s relationship also parallels many of the romantic elements of the Phantom of the Opera, where the masked Phantom takes Christine Daaé to his subterranean lair to reeducate her.^[27][29][28]

The Norsefire regime takes totalitarian imagery from many sources, fictional and non-fictional.

As a film about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including Nazi Germany and George Orwell's 1984.^[4][8] For example, Adam Sutler (whose name evokes that of Adolf Hitler)^[8] primarily appears on large video screens and on portraits in people's homes, reminiscent of Big Brother. In another reference to Orwell's novel, the slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is peace. Freedom is Slavery. Ignorance is Strength" in Orwell's Oceania.^[30] There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. (Britain currently has the world's highest concentration of CCTV.)^[31] Valerie was sent to a detention facility for being a lesbian and then had medical experiments performed on her, similar to Nazi Germany's treatment of gay men during the Holocaust.^[28] (Lesbians were not legislated against in the Reich.) Norsefire has replaced St George's Cross with the Cross of Lorraine as their Nordic-style national symbol. This was a symbol used by Free French Forces during World War II, as it was a traditional symbol of French patriotism that could be used as an answer to the Nazis' Swastika. The media is also portrayed as highly subservient to government propaganda, a characteristic of totalitarian regimes in general.

[edit] Modern fears of totalitarianism

We felt the novel was very prescient to how the political climate is at the moment. It really showed what can happen when society is ruled by government, rather than the government being run as a voice of the people. I don't think it’s such a big leap to say that things like that can happen when leaders stop listening to the people.

– Director James McTeigue^[4]

With the intention of modernizing the film, the filmmakers added topical references relevant to a 2006 audience. According to the Los Angeles Times, "With a wealth of new, real-life parallels to draw from in the areas of government surveillance, torture, fear-mongering and media manipulation, not to mention corporate corruption and religious hypocrisy, you can't really blame the filmmakers for having a field day referencing current events." There are also references to an avian flu pandemic, as well as pervasive use of biometric identification and signal-intelligence gathering and analysis by the regime.^[30]

Many film critics, political commentators and other members of the media have also noted the numerous references in the film to events surrounding the current American administration. These include the "black bags" worn by the prisoners in Larkhill that have been seen as a reference to the black bags worn by prisoners at Abu Ghraib in Iraq and in U.S.-administered Guantánamo Bay in Cuba, though the pre-Matrix draft of the screenplay also contains this reference to black bags.^{[32] [33]} Also London is under a yellow-coded curfew alert, similar to the US Government's colour-coded Homeland Security Advisory System.^[34][35] One of the forbidden items in Gordon's secret basement is a protest poster with a mixed U.S.–UK flag with a swastika and the title "Coalition of the Willing, To Power" which combines the "Coalition of the Willing" with Friedrich Nietzsche's concept of Will to Power.)^[36] As well, there is use of the term "rendition" in the film, in reference to the way the regime removes undesirables from society.^[3][33] There is even a brief scene (during the Valerie flashback) that contains real-life footage of an anti-Iraq war demonstration, with mention of President George W. Bush. Finally, the film contains references to "America's war" and "the war America started" as well as real footage from the Iraq War.

Despite the American specific references, the filmmakers have always referred to the film as adding dialogue to a set of issues much broader than the U.S. administration.^[8] When James McTeigue was asked whether or not BTN was based on Fox News McTeigue replied, "Yes. But not just Fox. Everyone is complicit in this kind of stuff. It could just as well been the Britain's Sky News Channel, also a part of News Corp."^[35]

[edit] The letter V and the number 5

Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant and vanished. However, this valorous visitation of a bygone vexation stands vivified, and has vowed to vanquish these venal and virulent vermin vanguarding 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, so let me simply add that it's my very good honor to meet you and you may call me V.

– V's introduction to Evey

In his battle with Creedy, V primes his daggers into the letter "V" before throwing them.

Similar to the graphic novel, there is repeated reference to the letter "V" and the number five throughout the film ("V" is the roman numeral for "5"). ^[37] For example, V's introduction to Evey is a monologue containing 49 words beginning with the letter "V" (50 V's including the one he draws on the wall, and 53 V's in the entire monologue, with V and the V on the wall making 55). V also finds it appropriate that this person that he has just met is named Evey, which could be interpreted as E-V, with E being the fifth letter of the alphabet. With implicit and explicit references to Guy Fawkes Day, "V" echoes the fifth of November 1605. During his imprisonment at Larkhill, V was held in cell number "V". V's Zorro-like signature is also the letter "V". Before the destruction of the Old Bailey, the bell which is ringing out, presumably Big Ben, tolls 5 times before the music intervenes and the explosion commences. During said explosion involving the Old Bailey, the fireworks form a red V configuration, completed by a circular firework, thus resembling not only V but the V for Vendetta logo. It is revealed that V's personal motto is "By the power of truth, I, while living, have conquered the universe", which according to the film translates into the 4 "V"ed Latin phrase: "Vi Veri universum Vivus Vici". However the ancient Romans wrote the letter 'U' as 'V' just like they write 'J' as 'I'. Therefore, if his motto is written as the Romans would have done, all 5 words start with V. In a dance with Evey, the song V chooses is number five on his jukebox (although every song in his jukebox is number 5). When V confronts Creedy in his home, he plays Beethoven's Fifth Symphony, whose opening notes have a rhythmic pattern that resembles the letter "V" in Morse code(···–).^[21][22] The film’s title itself is a reference to "V for Victory"^[38][39], the fifth symphony and the painting over Nazi posters with the V (as happens with Norsefire posters in the film) were both part of the Campaign. As V waits for night to fall, he arranges a complex domino pattern in black and red which forms the V logo. In the battle with Creedy and his men at Victoria station, V forms a "V" with his daggers just before he throws them. As they fly through the air, they form the letter "V" five times before hitting their targets, who are standing in a "V" formation. After the battle, when V is mortally wounded, he leaves a "V" signature in his own blood. After V battles Creedy the clock strikes 11:05 forming a "V", another Guy Fawkes reference given that the 11th month is November, and the 5 obviously being the fifth day. The destruction of Parliament results in a display of fireworks which form the letter "V", which is also an inverted red-on-black "A" symbol for anarchy.^[40]

[edit] Reception

As of December 2006 V for Vendetta had grossed (USD) $70,511,035 in the United States and $62,000,000 elsewhere, for a worldwide gross of $132,511,035. The film led the United States box office on its opening day, taking in an estimated $8,742,504 and remained the number one film for the remainder of the weekend, taking in an estimated $25,642,340. Its closest rival, Failure to Launch, took in $15,604,892.^[1] The film debuted at number one in the Philippines, Singapore, South Korea, Sweden and Taiwan.^[41] Despite taking place in the UK, the film did not reach number one at the UK box office on opening weekend; instead, The Pink Panther took the number one spot. V for Vendetta also opened in 56 IMAX theaters in North America, grossing $1.36 million during the opening three days.^[42]

The critical reception of the film was fairly positive, with Rotten Tomatoes giving the film a 72% Fresh approval.^[43] Ebert and Roeper gave the film a "two thumbs up" rating. Roger Ebert stated that V for Vendetta "almost always has something going on that is actually interesting, inviting us to decode the character and plot and apply the message where we will". Margaret Pomeranz and David Stratton from At the Movies state that despite the problem of never seeing Hugo's face, there was good acting and an interesting plot, adding that the film is also disturbing, with scenes reminiscent of Nazi Germany.^[44] Jonathan Ross from the BBC blasted the film, calling it a "woeful, depressing failure" and stating that the "cast of notable and familiar talents such as John Hurt and Stephen Rea stand little chance amid the wreckage of the Wachowski siblings' dismal script and its particularly poor dialogue."^[45] Sean Burns of Philadelphia Weekly gives the film a 'D', criticising the films treatment of its political message as being "fairly dim, adolescent stuff"^[46], as well as expressing dislike for the "barely decorated sets with television-standard overlit shadow-free cinematography by the late Adrian Biddle. The film is a visual insult." ^[46]On Alan Moore removing his name from the project, Burns says "it's not hard to see why"^[46], as well as criticising Portman's performance: "Portman still seems to believe that standing around with your mouth hanging open constitutes a performance"^[46]. Harry Guerin from the Irish TV network RTÉ states the film "works as a political thriller, adventure and social commentary and it deserves to be seen by audiences who would otherwise avoid any/all of the three". He added that the film will become "a cult favourite whose reputation will only be enhanced with age"^[47] V for Vendetta received few awards, although at the 2007 Saturn Awards Natalie Portman won the Best Actress award.^[48]

The film was nominated for the Hugo Award for Best Dramatic Presentation, Long Form in 2007.

[edit] Comments from political sources

V for Vendetta deals with issues of race, sexuality, religion, totalitarianism, and terrorism. Its controversial story line and themes have, inevitably, made it the target of both criticism and praise from sociopolitical groups.

Several anarchist groups have rejected the film, while others have used it as a means to promote anarchism as a political philosophy. On April 17, 2006 the New York Metro Alliance of Anarchists (NYMAA) protested DC Comics and Time Warner, accusing it of watering down the story’s original message in favour of violence and special effects.^[49][50] David Graeber, an anarchist scholar and former professor at Yale University, was not upset by the film. "I thought the message of anarchy got out in spite of Hollywood." However, Graeber went on to state: "Anarchy is about creating communities and democratic decision making. That’s what is absent from Hollywood’s interpretation."^[49]

Despite the lack of acceptance by some anarchists, the film has brought renewed interest to Alan Moore's original story, as sales of the original graphic novel rose dramatically in the United States.^[51] According to Publishers Weekly, by end of the March 2006 V for Vendetta was the number one graphic novel and number four fiction trade paperback at Barnes & Noble and was the number one graphic novel and the number three book on the overall bestseller list at Amazon.com.^[52]

Several libertarians, including members from the Mises Institute's LewRockwell.com, see the film as a positive depiction in favour of a free society with limited government and free enterprise. They cite the state's terrorism as being of greater evil and rationalized by its political machinery, while V's acts are seen as "terroristic" because they are done by a single individual.^[12][53] Justin Raimondo, the libertarian editor of Antiwar.com, praised the film for its sociopolitical self-awareness and saw the film's success as "helping to fight the cultural rot that the War Party feeds on".^[12]

In the United States, several conservative Christian groups were critical of the film's portrayal of Christianity and sympathetic portrayal of homosexuality and Islam. Ted Baehr, chairman of the Christian Film and Television Commission, called V for Vendetta "a vile, pro-terrorist piece of neo-Marxist, left-wing propaganda filled with radical sexual politics and nasty attacks on religion and Christianity".^[54] Don Feder, a conservative columnist, has called V for Vendetta "the most explicitly anti-Christian movie to date"^[55] that "combines all of the celluloid left’s paranoid fantasies".^[56] Film critic Richard Roeper dismissed these sentiments on the television show Ebert & Roeper saying that V's terrorist label is applied in the movie "by someone who's essentially Hitler, a dictator."^[57] Meanwhile, LGBT commentators have praised the film for its positive depiction of gays, with writer Michael Jensen calling the film "one of the most pro-gay ever".^[11]

David Walsh from the World Socialist Web Site criticizes V's actions as "antidemocratic" and cites the film as an example of "the bankruptcy of anarcho-terrorist ideology" stating that because the people have not played any part in the revolution, they will be unable to produce a "new, liberated society."^[58]

[edit] Influence on protests

An Internet group that only refers to itself as Anonymous (group) wore the Guy Fawkes masks popularized in the film when they held protests outside Scientology centers in cities around the world in February 2008.^[59]

The mask worn in the film was used in protests organized by the internet group Anonymous as part of Project Chanology, a global campaign against the Church of Scientology.^[60] Protesters in Boston, Los Angeles, Pittsburgh, Toronto, Edinburgh, London and other cities worldwide wore Guy Fawkes masks modeled after the film, in international protests against the Church of Scientology on February 10, 2008.^{[61][62][63][64][65][66][60][67]}

Protesters wearing Guy Fawkes masks from the film, at February 10, 2008 protest in London as part of Project Chanology

The Boston Globe characterized usage of the Guy Fawkes masks as "an allusion to the British insurgent and a film depicting an antigovernment movement".^[60] Aaron Tavena of College Times wrote that the Guy Fawkes masks provided a "dramatic effect" to the protests, and Nick Jamison of The Retriever Weekly wrote: "During the February 10 protests, Anonymous was informative, Anonymous was peaceful, and Anonymous was effective. After seeing all of the pictures from the 10th with everyone in disguise, many sporting Guy Fawkes masks, I wanted to be a part of that."^[68][69]

[edit] Differences between the film and graphic novel

For more information, see V for Vendetta.

The film's story was adapted from an Alan Moore comic originally published between 1982 and 1985 in the British comic anthology Warrior, and then reprinted and completed by DC. These comics were later compiled into a graphic novel and published again in the United States under DC's Vertigo imprint and in the United Kingdom under Titan Books.

Alan Moore's original story is darker, with a greater emphasis on anarchist themes.

There are several fundamental differences between the film and the original source material. For example, Alan Moore's original story was created as a response to British Thatcherism in the early 80s and was set as a conflict between a fascist state and anarchism, whereas the film's story has been changed by the Wachowskis to fit a modern political context.^[15] Alan Moore charges that in doing so, the story has turned into an American-centric conflict between liberalism and neo-conservatism, and abandons the original anarchist-fascist themes. Moore states, "There wasn't a mention of anarchy as far as I could see. The fascism had been completely defanged. I mean, I think that any references to racial purity had been excised, whereas actually, fascists are quite big on racial purity."^[15] Furthermore, in the original story, Moore attempted to maintain moral ambiguity, and not to portray the fascists as caricatures, but as realistic, rounded characters.^[15] The time limitations of a film meant that the story had to omit or streamline some of the characters, details, and plotlines from the original story.^[4] Chiefly, whereas the original graphic novel has the fascists elected legally and kept in power through the general apathy of the public, the film introduces the "St. Mary's virus," a biological weapon engineered and released by the Norsefire party as a means of clandestinely gaining control over their own country.

Many of the characters from the graphic novel underwent significant changes for the film. For example, V is characterized in the film as a romantic freedom fighter who shows concern over the loss of innocent life. However, in the graphic novel, he is portrayed as ruthless, willing to kill anyone who gets in his way.^{[citation needed]} Evey Hammond's transformation as V's protégé is also much more drastic in the novel than in the film. At the beginning of the film, she is already a confident woman with a hint of rebellion in her, whereas in the graphic novel she starts off as an insecure, desperate young woman forced into prostitution. In the end, she not only carries out V's plans as she does in the film, but also clearly takes on V's identity.^[5] Whereas in the film Inspector Finch sympathizes with V, in the graphic novel he is determined to stop V and goes as far as taking LSD in order to enter into a criminal's state of mind.^[5] Characters who were completely omitted from the film or had a significantly reduced role include Rose Almond, Alistair Harper, and Mrs. Heyer.

The graphic novel's main villains also underwent changes in the film adaptation. While the Chancellor within Moore's text is a brutal dictator, he is also a lonely, socially inept man who truly believes in fascism, and, in the end, wishes merely to be accepted and loved by his people. The film, however, presents none of these human qualities. Creedy, meanwhile, evolves from a relatively minor character in the graphic novel to one of the chief characters of the film adaptation; in the film, he is revealed to have been the brains behind the bioterror attack that Norsefire used to seize power. His personality is also somewhat revamped in the film; whereas he is a coarse, petty opportunist in the graphic novel, in the film he is an icy sociopath whom V calls "a man seemingly without a conscience, for whom the ends always justify the means."

The setting and plot of the film were also changed from the original story. Whereas the film only mentions the United States' civil war and collapse, in the graphic novel, it is mentioned that a global nuclear war has destroyed much of the world outside of Britain. (Even Alan Moore admitted, in the introduction of the first DC Comics issue and subsequent collected editions, that surviving a nuclear war as depicted in the graphic novel would be impossible and therefore a significant flaw in the graphic novel.) With a nuclear winter causing famine and massive flooding, there is a real fear that a collapse of the Norsefire government would lead to disaster. Whereas the film ends in a relatively peaceful overthrow, in the graphic novel there is a violent collapse of authority. Other differences include the computer system "Fate", which is completely missing from the film. (In the original story, Fate was a Big Brother-like computer which served as Norsefire's eyes and ears and also helped explain how V could see and hear the things he did.) V's terrorist targets are also different in the graphic novel, as he destroys Parliament and the Old Bailey in the beginning, and destroys 10 Downing Street for the finale.

[edit] DVD and high definition releases

V for Vendetta was released on DVD in the US on August 1, 2006 in three formats: a single-disc wide-screen version, a single-disc full-screen version, and a two-disc wide-screen special edition. The single disc versions contain a short (15:56) behind-the-scenes featurette titled "Freedom! Forever! Making V for Vendetta" and the film's theatrical trailer, whereas the two-disc special edition contains three additional documentaries, and several extra features for collectors. On the second disc of the special edition, a short Easter egg clip of Natalie Portman on Saturday Night Live can be viewed by selecting the picture of wings on the second page of the menu. The film has also been released on the HD DVD high definition format, which features a unique 'in-movie experience' created exclusively for the disc. Warner Bros. announced on February 8, 2008 that V for Vendetta will be released on Blu-Ray some time in 2008.

[edit] Tie-ins

[edit] Books

The Moore/Lloyd graphic novel was re-released as a hardback collection in October 2005 to tie into the film's release (originally November 5, 2005). (Moore was reportedly furious to notice that the true first printing was marred by a spelling mistake on the back cover, and unceremoniously disposed of his complimentary copies.)

• Moore, Alan & Lloyd, David, V for Vendetta (Vertigo Comics, October 12, 2005) ISBN 1401207928

A novelisation of the film was written by Steve Moore (although the two Moores are often linked, they are not related), based on the Wachowski Brothers' script and released in January, 2006.

• Moore, Steve, V for Vendetta (Pocket Star, Jan 31, 2006) ISBN 1416516999

A behind-the-scenes book was written by Wachowski-collaborator Spencer Lamm (Lamm produced much of the content of TheMatrix.com; edited The Art of The Matrix and volumes of The Matrix comics, and is also involved in the Brothers' Burlyman Entertainment comics venture) and published in August, 2006.

• Lamm, Spencer, V for Vendetta: From Script to Film (Universe, August 22, 2006) ISBN 0789315033

[edit] CDs

A soundtrack CD featuring music from the film was released by Astralwerks on Mar 21, 2006. Alongside Dario Marianelli's score are songs by Julie London, Cat Power and Antony & the Johnsons. The final track (by Marianelli) - "Knives and Bullets (and Cannons Too)" - incorporates the pivotal piece of music from the film: Tchaikovsky's 1812 Overture.

David J (of Bauhaus fame)'s 1983 'soundtrack' to the V for Vendetta comic was re-released to tie-into the film, on June 13, 2006. Moore approached David J for help with setting "The Vicious Cabaret" (an episode of the comic which takes the form of a fully-scored musical piece) to music. J also wrote other musical pieces inspired by the comic series.

[edit] Other

As well as promotional items created to publicise the film (which included a shoulder bag and bust of the Guy Fawkes - 'V' -mask), replicas of the mask and action figures were released. Figures (released by NECA) include a 12" action figure which speaks phrases from the film, a 12" resin statue and a 7" figure.

(Semi-)Official V costumes have been created for Halloween. These range from the 'full' costume (cape, hat, mask and dagger-belt) to various individual aspects - gloves, hat, mask, hair, daggers, etc. - which are available both separately and in combinations.

[edit] References

[edit] External links

Wikiquote has a collection of quotations related to:

V for Vendetta (film)

• Official V for Vendetta site at Warner Brothers
• UK Site
• A For Anarchy – Project which used the release of the film to promote anarchism.
• V for Vendetta at the Open Directory Project
• V for Vendetta at the Internet Movie Database
• V for Vendetta at All Movie Guide
• V for Vendetta at Rotten Tomatoes
• V for Vendetta script at the Internet Movie Script Database