V for Vendetta

Chances are, we all know people who are avid readers and swear up and down that a movie is never as good as an original novel. Man, those people can be annoying! However, as time goes on I find myself identifying with those people more and more. The difference between them and myself is, they read the books first and then see the movies. I, on the other hand, see the movie, listen to people complain about how “it wasn’t the same”, read the novel, and then join the chorus! Maybe this is a sign that I should read more, maybe its just dumb luck. But somehow, I find that with a lot of adaptations, I’m getting it all backwards.

The experiences tend to be pretty far between, but on the whole, I notice they are becoming more and more frequent. First, there was The Lord of the Rings, where I saw the first movie and then read the trilogy. By the time the trilogy was wrapping up, I was nitpicking all the omissions and changes with all the other Rings geeks! Then there was Fight Club, a movie I thoroughly enjoyed but then read the book and suddenly found reason to criticize. Then came Blade Runner, one of those rare instances where I liked the movie better. More recently, its been Game of Thrones – we’ll see how that turns out! – and, for the purposes of this review, V for Vendetta.

Yes, here too I saw the movie before I ever knew the source of inspiration. Then, having finally read it, I found myself having second thoughts about the movie. In truth, that’s not really fair, but it is kind of unavoidable. Regardless of what order you do it in, you can’t help but be very much aware of the fact that between the original story and the screen adaptation, things change. It might not always seem faithful, but a movie is not diminished simply because it’s different from the source material, nor can you fault director’s for taking creative liberties. And with adaptations that come years or even decades after the book was first released, you have to figure that changes will be made because they have to be. Things have happened between now and then, things which may make certain parts of the story impossible or at the very least unlikely. So with that in mind, let’s get down to V for Vendetta – the movie, the graphic novel, and everything in between!

(Background—>):
Since I knew in advance that V (the movie, not the sci-fi series) was based on an original graphic novel, I thought it only fair that I read it before giving the movie a review. After reading it, I was reminded of why I enjoyed Watchmen as thoroughly as I did. In both cases, Alan Moore was the creative mind, combining an obvious passion for politics, history and narrative depth with the usual subject matter of comic books (i.e. superheros). It was these same elements that Frank Miller would later emulate in order to create one of the best entries in the Batman franchise – The Dark Knight Returns. This is surprising, seeing as how V was apparently a side project of Moore’s, something he and illustrator David Lloyd did for fun more than anything else. The fact that it went on to become one of the most critically acclaimed series’ in history, eventually spawning a movie adaptation, was just a sign of its quality.

But of course, the graphic novel was released between 1982 and 89, covering events which took place towards the end of the 90’s. In it, a post-apocalyptic Britain has been spared the ravages of the nuclear holocaust, but then finds itself struggling to survive in a devastated world. It is then quickly taken over by a fascist government that uses the chaos of the outside world and the mentality of “Lifeboat Britain” to take power and justify its extreme policies. After many years of supposed peace and stability, a masked anarchist emerges who begins to slowly take apart the state, exposing its lies, secrets, and the crime that made him what he is.

Not only was this a chilling basis for a story, it also had an undeniably British flavor to it. The setting, the characters, and the mentality of it all just screamed Britain! In the movie, we get much the same feeling, but the elements are different. Rather than involving nuclear war, the plot revolves around the threat of terrorism and repression done in the name of security (something audiences in 2006 would find much more relatable). That, and a slew of other changes, made the movie more current, but also had the effect of watering it down somewhat.

(Content—>):
The movie opens almost exactly as the graphic novel does, except that for the sake of American audiences, the story of Guy Fawkes is first explained. Natalie Portman tells of the Gunpowder Treason, the man behind the plot, and the difference between ideas and the people who fight for them. However, the movie then moves to a near-future London at night, where both Evey (Natalie Portman) and V (Hugo Weaving) are getting ready to go out. In the background, the “Voice of London” – the regimes chief spewer propaganda – is delivering his latest spiel.

Evey then goes out for the night, on her way to meat her suitor and superior over at BTN (British Television Network) where she works. However, on her way she is intercepted by Fingermen (government spooks) who attempt to rape her. She is narrowly saved by a masked stranger who is in the habit of spouting poetry before wielding his knives and cutting his enemies to ribbons. He says his name is V, a name which he then cuts into one of the government’s posters. Thus begins Evey’s adventure with him, and the premise of the story.

He then takes Evey to the roof of a nearby building where a performance is about to begin. This “show” involves the destruction of the Old Bailey, the symbol of Britain’s justice system in London, done to the tune of 1812 Overture. During the display, he mentioned the 5th of November to her, and how that act, over 400 years old at this point, has been largely forgotten. As has the lesson. Through all this, we are made immediately aware that V is a revolutionary anarchist who has a score to settle with Britain’s fascist government. His theme: Guy Fawkes, and the Gunpowder Treason!

I should note that within these first few scenes, there are some notable differences between the book and movie. For one, Evey did not work in television, she worked in a munitions plant. And she was not out for a date, she was out trying to sell herself. Yes, this 16-year old (they never specified her age in the movie) had fallen on hard times since her job didn’t pay enough, was looking to make a little extra money and thought dabbling in prostitution might make up the difference. What’s more, in the movie V whooped the Fingermen’s asses but left them otherwise unharmed. In the book, he killed several, and used gas and an exploding hand, not knives!

What’s more, V did not blow up the Old Bailey in the opening scene, but Parliament itself! Much like the Old Bailey, this was an old government building that was no longer in use. Given the fact that the fascist party that had taken control had no need of parliamentary procedure, the building was essentially empty. But of course, it was the symbolic value that mattered. It was shortly thereafter in the book that V blew up the Bailey, but only after delivering an impassioned speech to the figure of Madam Justice on the subject of betrayal.

In any case, we then get a quick gander at the authorities who run Britain and their leader – the Lord High Chancellor Adam Sutler (John Hurt). Much like in the book he is a totalitarian and runs Britain through several branches known as the Eyes, Ears, Nose, Mouth and Finger – video, audio surveillance, regular police, propaganda, and secret police (echoes of 1984 with its four ministries!). But whereas in the movie they are known as the Norsefire party (a clear reference to their Nordic beliefs and action platform), the Party was never really named in the book. Regardless, they are of course determined to find the masked vigilante, and put out a spin story about a controlled demolition to cover up the terrorist incident. Since this is a criminal investigation, it falls to inspector Finch (Stephen Rea) to find him.

However, their attempts at spin control prove futile when on the 5th of Nov, V marches into the BTN network headquarters with a bomb and forces them to broadcast a manifesto of sorts. In it, he declares that the people of Britain have been robbed of their freedom by the Lord Chancellor and his goons, and were of course complicit in the process. And that, in one year’s time, he will resurrect the Gunpowder Treason by blowing up Parliament, and invites the people of Britain to come and watch. In the course of his escape, Evey comes to his rescue and is knocked unconscious. Unsure of what to do, he brings her back to his lair and they become acquainted.

In the course of this, Evey begins to tell V her story, how her parents were political dissidents who were taken away when she was young. However, her sympathies are soon spent when she realizes that he is killing people and she hatches a plan to escape. She puts this into action when V asks for her help in killing Archbishop Lilliman (Eddie Marsan), a Party member who was the Chaplain at Larkhill – now the Archbishop of Canterbury – and who just happens to be a pedophile. She knows that running away is dangerous since the police now believe she is his accomplice, but can’t stomach what he’s doing. This is also different from the book, but more on that later.

Shortly thereafter, V enters into phase two of his plan, which Evey becomes involved in. This includes him isolating members of the Party that run Britain, key personnel in the regime, who he then murders. The first is the Lewis Prothero (Roger Allam), otherwise known as the “Voice of London” (Voice of Fate in the book). But whereas in the book, V goes through the process of kidnapping him and bringing him to Larkhill – where he destroys his prized dolls (which he collects), in the movie, V enters his apartment and kills him with a poisoned needle. I notice a subtle reference to the doll collection though; in his bathroom, Prothero had a small collection up on his wall.

In the course of investigating, Detective Finch (Stephen Rea) – head of the Nose – discovers that Prothero was once the Commandant of the camp. His other victims all have similar ties to the place, one of whom was a doctor named Delia Surridge (Sinéad Cusack), the one who conducted the camps’ experiments and was responsible for creating V. When she is dead, V leaves her journal, in which she kept detailed notes about her time in the camp, for Inspect Finch to find. It is from this journal and their own snooping that the Nose men begin to see what’s going on. Like V, they’ve stopped believing in coincidences and suspect that everything in this case is connected. And since things have escalated, the investigation has been taken over by Creedy (Tim Pigott-Smith), head of the Finger, which is a blessing since it leaves Finch free to look into this conspiracy.

Things become increasingly desperate as things get closer to the 5th of Nov. The government, as predicted, begins to become more repressive, leading to increased resentment and backlash from the people. Into all this, V continues to point Finch and his investigators in the direction of the overarching conspiracy. This includes the creation of a biological weapon which the people of Norsefire unleashed on England in order to secure power and then pinned on some hapless Muslims as a terrorist incident. They realize that Arkhill was ground zero, and that V was a test subject who became changed as a result of the testing, then blew the place up and escaped! Whats more, they know that this can only end in bloodshed, and with the fall of the Party… unless they can find another way.

At this point, something crucial takes place. Evey, having run away from V, goes to stay with her friend Dietrich (Stephen Rea), who just happens to be the one she had a date with at the beginning. He is her superior over at BTN and takes her in, revealing that he too has secrets, being a liberal intellectual and gay to boot! He promises to jeep her safe. However, after an episode of his show that makes fun of Chancellor airs, the is taken in the night by Creedy and his men. Evey is forced to watch as he’s beaten and has a bag put over his head, thus reliving what happened to her parents. She tries to escape but is captured outside the house.

Afterward, she believes she is in a government camp, where she is tortured, interrogated, and locked in a tiny cell for weeks on end. During that time, she finds a note stashed in a rat hole written on toilette paper. The note is apparently written by a woman named Valerie (Natasha Wightman), a former actress who was an inmate on a count of her being a lesbian. Her story empowers Evey, and when asked to give up V, she refuses, choosing death instead. Her guards offer her one last chance, but when she again refuses, the guard says only “Then you have no fear any more. You’re completely free.”

Mystified by this statement, Evey leaves her cell and finds that she is still in V’s lair. It seems her conducted her torture and detainment as an elaborate ruse to help her come to terms with what happened to her parents, and to find the strength to fight the fascists and win. She is initially quite furious, but in time sees to see what he did as a good thing. It is at this time that he reveals that the woman Valerie was real, that she and V were both at Larkhill together, and he is doing what he’s doing to avenge her and everyone else they murdered. In fact, it was her love of roses that motivated V to use them as his calling card. Eve leaves, but she and V promise to see each other one last time before the 5th.

At this point, V makes a deal with Creedy to betray and kill the Chancellor. In exchange for overthrowing the man,
V will surrender willingly. Creedy agrees, mainly because he knows he’s not likely to be able to stop V otherwise, and that Sutler will have his head in that event. Meanwhile, Evey meets V one last time and he shows her the train that he’s loaded up with explosives and placed on a track that leads underneath Parliament, true to the original Gunpowder Treason! He leaves the controls to her, saying he must go do his final errand, and that she is to decide whether or not to blow up Parliament. She naturally tries to stop him, but he insists that he must go and leaves her.

Nearby, Creedy and his men show up, bringing the Chancellor with them as agreed. Creedy then shoots Sutler and demands V come with them, but V refuses. A gunfight ensues, but V is relatively unharmed and kills all Creedy’s men. He saves Creedy for last and then strangles him, but not before delivering one of the best lines of the movie. “Behind this mask lies more than flesh. Behind this mask lies an idea, and ideas are BULLETPROOF!” He then unstraps the metal vest that absorbed most of the bullets, but is still mortally wounded and lurches his way back to the subway. Once he gets there, he dies in Evey’s arms, and is followed shortly thereafter by Finch.

Not surprisingly, Finch does not stop her. He knows this must happen and lets her set the train off. Up above, the masses are converging on Parliament in anticipation for its destruction, each of them wearing a Guy Fawkes mask! Without orders and no word from the Chancellor or Creedy, the soldiers decide to do the right thing and stand down. The crowd is then in the perfect position to see the fireworks. And they do! The crowd whip off their masks, revealing everyone who’s been in the movie, even those who have died. This coincides with Evey explaining that V was every one of them, not just some masked vigilante inspired by Guy Fawkes.

(Synopsis—>):
Okay, now would be a good point to mention all the differences I had to skip over because believe me, there are a lot!
As I mentioned, the character of Evey was different in the book, being far more vulnerable and naive than she was in the movie. It was in this way that her transformation, which happened because of her contact with V, became all the more apparent. Making her character a stronger, more nubile and independent person who saves V at one point was clearly designed to appeal to post-modern audiences.

In keeping with this, she did not leave V during the commission of his murder of the Archbishop. In truth, he kicked her out shortly after this, thus forcing her to shack up with Deitrich, who was then murdered not by Fingermen, but by thugs. The reason for this was because in the book, Deitrich was involved in criminal activity and had nothing to do with broadcasting, nor was he gay. He and Evey had a sexual relationship for a time, and it was clear that Evey’s unresolved father issues had a part to play in that!

Moreover, the “Leader” (not Chancellor) did not work from some bunker and communicate with his lieutenants on some massive monitor. In fact, he worked from a central location called “The Head” where he was connected to all the other branches (Eyes, Ears, Nose, Finger, Mouth) through a computer named Fate. Strangely enough, he became increasingly obsessed and even enamored with this computer over the course of the story, leading to an eventual breakdown that led to the plot to overthrow him by Inspector Creedy. Speaking of which, the plot to overthrow was not spearheaded by V but occurred as a result of inter-Party politics, a lot of which was the result of Creedy’s wife who was scheming to make sure her lover the new Leader. V, of course, took advantage of all this and played the people against each other so that by the time the train was dispatched, they had all killed each other.

However, in another twist, this plot came to halt when the Leader was shot point blank by the wife of Creedy’s successor (Inspector Almond) during a parade. Her involvement was a side-story that was completely missing from the movie. As indeed was the confrontation that took place between Finch and V in the subway. Yes, in another change-about, that action scene at the end did not take place between V, Creedy and his Fingermen but between Finch and V alone. But similarly, it was this confrontation that caused V to be mortally wounded, right before he meets Evey for the last time and leaves it to her to dispatch the train.

But, as mentioned earlier, V didn’t blow up Parliament at the end, he’d already done that at the beginning. His target
was the Head, and Evey did not just send the train but adopted V’s persona and addressed the crowds of London before it went off. This, combined with a scene were Evey removes his mask and sees herself, her father, and many other faces (anyone but V’s true face) was meant to illustrate what V said: behind the mask is an idea. Behind the mask was anarchy and freedom, and it lives in the heart of all people. The Wachowski brothers illustrated this as well, but chose to have an entire crowd dressed up as V with Natalie Portman doing a voice over about how “he was all of us”.

But the biggest difference of all had to do with how England came to be a fascist state. In the book, WWIII takes place in the mid to late 80’s, England was spared a direct nuclear attack, but society goes to hell all the same. Then, in the early 90’s, the fascists took charge of the country, taking advantage of all the disorder and chaos. Once in power, they proceeded to round up all the political dissidents, minorities, gays, and placed them in concentration camps. And of course, they established a police state where everyone’s movements, words and actions were monitored.

And their slogan was “Strength Through Unity, Unity through Purity”, not Strength Through Unity, Unity through Faith“. Faith, after all, implies the presence of religion – i.e a state where religion and politics are not separate. Purity, on the other hand, implies a state that seeks singularity, which in the case of Fascism involves the active liquidation of minorities and other “undesirables”. This is in keeping with the fundamental character of the Party in the book, a ruthless, fascist organization that has no qualms about committing genocide. By contrast, the Norsefire party was somewhat more subdued, concerning itself with direct control and avoiding racial purity. Ironic, considering the fact that in the movie, they committed mass murder in order to obtain power!

Which brings me back to the different back story that was used in the novel, which I found far more realistic than the movie’s. With the movie, the Wachowskis needed to update things since the end of the Cold War pretty much meant that WWIII was no longer a likely event. And after Sept.11th and the advent of the “War on Terror”, what better angle was there than a government that turned totalitarian because of terrorism and the manipulation of people’s fear? True, it WAS more current, but it also a lot less realistic. The 9/11 Truth Movement’s opinions aside, are we really to believe that any government would be willing to commit mass murder just to get in power? And its openly alluded that the world outside was going to hell all same, even if it wasn’t specified from what (the US’s war is mentioned, but they do not go into detail). This alone would have been enough to create a the “Lifeboat Britain” mentality, why did they need to kill 80,000 people as well?

But aside from all this, the movie was quite faithful to the source material. And most of what was changed arose out of the need to shorten and condense the original ten volumes into a two hour movie. And dammit if they didn’t do a good job of it! Above all, the back story of V was treated faithfully. V being the Roman numeral for five, signifying the 5th of November, and also referring to the five V’s that make up “Vi Veri Veniversum Vivus Vici”, which is Latin for “By the power of truth I, while living, have conquered the universe”. This quote, which is attributed to Marlowe’s Dr. Faustus, has immense symbolic value since V himself is the product of a Faustian deal, though it was the state who forced him into it. The deal he makes with Evey is similar, that in exchange for his help, he forces her to undergo a painful transformation.

And of course the movie has undeniable signs of quality that is typical of the Wachowskis at their peak. The colors are vivid (in the Matrix everything was green and black, here it’s red and black), the direction and cinematography are very good, and the writing was both cool and faithful. In many places, the Wachowskis took liberties but still managed to capture the essence of the story and the characters. And I musn’t forget to mention how much the movie benefitted from an all-star cast! Hugo Weaving was especially good at capturing the magnetic personality of V, John Hurt is sublime as the ruthless High Chancellor, Stephen Rea was spot on as the straight and fearful detective, and Tim Pigott-Smith was very convincing as the evil “Creepy Creedy”. And Natalie Portman, wow! Those scenes where she is being tortured and humiliated in prison were made real by her powerful performances.

In the end, I think I’d file this movie under the same category as the Dune Miniseries. In short, it was different from the source material, but was faithful nonetheless. I highly recommend both the graphic novel and the movie, the one is inspired and interesting, while the latter is highly entertaining!

V for Vendetta:
Entertainment Value: 8/10
Plot: 8/10
Direction: 9/10
Total: 8.5/10

Of Alien…

Not long ago, I reviewed a movie that had the honor of being not only one of the best sci-fi movies of all time, but one of the best movies period. That movie was Blade Runner, one of Ridley Scott’s most enduring classics. So it is with great pleasure that I dedicate this next review to another one of his masterpieces, the cult classic known as Alien. However, one can scarcely get into this movie without at least mentioning the franchise it spawned. Indeed, Alien went on to become not only a commercial success, but a cult-hit that inspired three sequels, two cross-overs, several video games, and even books and comics. Many of said sequels sucked, the less said about the crossovers the better, and Scott himself was not attached to any of the sequels as director. But that does not change the fact that the Aliens franchise was, at it’s core, one of the most original and inspired science fiction franchises of all time.

(Background—>)
Over the years, this movie inspired lasting praise, not the least of which came from literary critics who drew parallels between it and classical literary sources. These included H.P. Lovecraft’s At the Mountain of Madness, not because the movie was similar in terms of storyline, but in terms of its “dread-building mystery”. Upon the release of the Director’s Cut, Roger Ebert listed the movie in his Great Movies column, calling it “one of the most influential of modern action pictures”, and praising it for its pacing, artful direction, and how it took its time to build tension. It was also a commercial success, something many classics don’t see until years after their release. But enough of what others thought about it, let’s get to what I thought about it! Cue the opening sequence!

(Content—>)
Alien opens on the scene of a massive vessel traveling through deep space. The passengers, haulers who work for the mega corporation Weylan-Yutani, are in deep sleep and awaiting their safe return to Earth space with their shipment of ore. However, a distress signal from a neighboring planet brings them out of deep-sleep and sets them on course for this planet. Upon waking, they learn of the signal and their change in course, and are quickly told that company policy demands that they answer the call, otherwise they will lose their “shares” when the shipment is brought in. Through all this, we are immediately made made aware of two things: One, corporate monopolies control all shipping and mining in this universe; and two, that the company maintains loyalty by appealing to their employees greed. Another thing which we are made aware of is the concept of cryogenic-units which are used to keep people preserved during deep space travel in this universe. While the Alien franchise didn’t invent this concept (I believe Arthur C Clarke has that honor) it did much to popularize it. One can scarcely pick up a hard sci-fi book without reading a bit about “hypersleep”, “cryosleep”, “reefersleep”, and the like.

Skip ahead to the planet where the distress signal is originating from, and we are confronted with an alien derelict which I can only describe as awesome! Really, truly, alien looking! In the course of spelunking through the cloudy and oddly shaped interior (you can feel the tension building!), they encounter a field of eggs. One of these eggs opens up when the XO – Kane, played by John Hurt – gets near, and let’s lose a spidery parasite that attaches itself to his face. After he’s returned to the ship, the crew learns that there’s nothing they can do for him now, since the parasite will kill him if it’s disturbed, and that it has acid fpr blood and therefore can’t be removed without causing serious harm to the ship. They learn this second fact the hard way, giving the thing a tiny cut causes an acid spill that melts through two decks! And in a space ship, holes are not something you want! But, as luck would have it, the parasite falls off and dies all by itself. Problem solved, right?

Well, no… shortly after losing the spidery thing and waking up, Kane ups and dies, in the most graphic and horrible way imaginable! This is another aspect of the movie that was both novel and original for its time, the concept of the chest exploding alien! They gestate inside you, scary enough, and then emerge as this nightmarish, toothy thing with spindly arms and a long, segmented tail. In any case, the crew jettisons Kane’s body and is just beginning to breathe normally again when the fully-grown thing of nightmares kills another member of their crew. What follows is a claustrophobic, mad rush to kill the alien, but those attempts quickly fail. The ships Captain (Tom Skerritt) is one of the first to fall, leaving Lt. Ripley (played by Sigourney Weaver) now in charge. She soon realizes that the company wants the alien taken alive, and is even willing to sacrifice the crew to get their hands on it. She further learns that one of crew – Ash, played by Ian Holm – is a corporate mole who’s job, it now seems, is to make sure this directive is followed to the letter. Oh, and did I mention he’s an android?

As soon as he’s found out, Ash tries to kill Ripley, but she and her crew manage to take him down and get some answers from him. He confirms that the company wants the alien and the rest of them are expendable, and is also sure to leave them with some cryptic words: “You still don’t understand what you’re dealing with, do you? Perfect organism. Its structural perfection is matched only by its hostility.” “You admire it,” says one of the crewmen, to which Ash replies: “I admire its purity. A survivor… unclouded by conscience, remorse, or delusions of morality.” Classic lines! Then, just to be prick, he let’s them know exactly how slim their odds of survival are: “I cannot lie to you about your chances, but… you have my sympathies”. Naturally, they say “screw it!” and decide to scuttle the ship. But the alien creature is no slouch and manages to kill all but Ripley and the ships resident cat. To this day, I am not sure what the point of the cat was. Maybe to provide some tension; I mean nothing is more scary than a cat jumping out of nowhere during an already tense scene, right? In any case, she finally kills the alien by blasting it out the airlock of her shuttle and burning it with one of the ships thrusters. She is then left alone to drift home, and files a heartfelt report of how all her friends were killed in deep space by a hostile creature of unknown origin.

(Synopsis—>)
To be honest, this movie was a tad uncomfortable at times, at least when compared to the sequel. But then again, that was the whole point of the movie, wasn’t it? It was meant to feel uncomfortable, claustrophobic, and paranoid, because that it exactly what you would expect to feel if you were in that situation. Put yourself in a spaceship, surrounding by vacuum, then imagine you have a hostile organism on your hands that has the run of the place, and is both an expert hunter and hider. What feelings come to mind? Claustrophobia, since you’d feel like your trapped with it, and agoraphobia because you know you can’t just open a door and run outside. For these reasons, and because of the amazing artwork, set designs, the concept of the aliens, and of course the theme of personal and corporate greed, Alien deserves full credit for getting the ball rolling on the whole of the franchise. But really, it was never meant to be a standalone piece, so comparing it to the sequel is not really fair or warranted. If anything, this film and it’s sequel are companion pieces, Aliens picking up where Alien left off and expanding on it, something which it did very well. But more on that next time, stay tuned!

Alien:
Entertainment Value: 8/10
Plot: 8/10
Direction: 9/10
Total: 8.5/10