V For Vendetta (5/10)
by Tony Medley
No wonder Western Union went
out of business; Hollywood is sending all its messages in hundred
million dollar movies! V for Vendetta (based on a graphic novel,
co-created by Alan Moore and David Lloyd, published in 1981 and
completed in 1989 after a five year hiatus when “Warrior” the
independent monthly comic magazine folded after 26 episodes had been
published, finally released by DC Comics in its entirely as a graphic
novel) lines up on politically correct side on all the issues present
day Hollywood considers important. Consider:
It toes the line on
homosexuality, gratuitously throwing it into the mix when there is
really no need.
Set in a futuristic London
under a fascist dictatorship, Moore and Lloyd said that the story was
greatly influenced by their political opinion. Says Lloyd, “Our attitude
towards Margaret Thatcher’s ultra-conservative government was one of the
driving forces behind the fascist British police state we created in
Vendetta.” The fact is that Thatcher took over a moribund British
economy when she was overwhelmingly elected in 1979. She led a massive
denationalization of the British economy that turned the nation around.
She was also a key player in Ronald Reagan’s defeat of the Soviet empire
without firing a shot. So these guys, with two decades of hindsight,
still ignore all her accomplishments and, instead, view her as something
to be portrayed as a fascist. This is consistent with the left who
refuses to recognize what Reagan and Thatcher and Pope John Paul II
accomplished in the ‘80s, which included curing a horrible economic
crisis and winning the cold war.
It has a negative portrayal
of a religious leader, Bishop Lilliman (John Standing), an Anglican
bishop, who preys on young girls, and whose pimp is another priest.
It glorifies blowing up a
building and killing innocent people as a political tool. What kind of
mindset makes a movie with a premise like that after 9/11?
The only positive religious
reference is to the Koran.
The hero, V (Hugo Weaving),
is a vicious killer who takes the law into his own hands. He was
horribly disfigured in a fire so he wears a Guy Fawkes mask that always
looks as if he’s smiling as he does his work (in fact, we never see V’s
face as Weaving wears the mask thoughout the entire movie). If he were
killing bad people because they controlled an evil society (which they
do in this movie) so there was no other resort, that would be one thing.
But V is killing people simply for the sake of personal revenge.
Being a Matrix-type movie,
the film is replete with superhuman confrontations in which V appears
invincible, no matter the odds or the weapons used against him. He falls
in love with a woman he rescues, Evey Hammond (Natalie Portman), but the
way he treats her, in converting her to his way of thinking, gives a new
meaning to “tough love.”
Ostensibly he wants to
continue what Guy Fawkes tried to do on November 5, 1605, blow up the
Houses of Parliament to create anarchy, thus giving society a chance to
remake itself. The moral is, clearly, that the end justifies the means.
That said, the movie is
inventively produced (Joel Silver of “Lethal Weapon” and “Die Hard” fame
and the Wachowski Brothers, of the Matrix trilogy) and directed (first
timer James McTeigue, who was an assistant director on the Matrix
trilogy). The costuming (Sammy Sheldon) is also inventive, as are the
sets (Production Designer Owen Paterson), showing a London in 2020 as a
When all the buzz about a
movie is about how it is produced and directed and all the production
values and the costumes and such, you can figure that it’s not much of a
story or script. But this is Hollywood and this film has political
credentials that appeal to those who shape Hollywood and influence
The plot and characters of
this movie aren’t the only fantasy associated with this film. Its
political views and the stated beliefs of its creators in forming the
basis for the story ignore the facts, defy credibility, and are more
fantasy than the way V superhumanly avoids all the knives and bullets
and police thrown at him.
Finally, consider this. These
people, who apparently hate Margaret Thatcher, have their movie come to
a violent end after vast mayhem and death. Thatcher, their bęte noire,
was a key part of a team that won the cold war without a shot being
fired. Go figure.
March 14, 2006