V FOR VENDETTA

Starring: Hugo Weaving, Natalie Portman

Directed by: James McTeigue

Official website: http://wwws.aa.warnerbros.com/vforvendetta/index.html

It is 2020 and Britain is now a fascist and corrupt state, complete with the obligatory secret police, Nazi-esque symbolisms, overbearing leader, manipulated media and extreme nationalist rhetoric by its politicians. V is the enigmatic, masked crusader against the totalitarian government, who appears to the public in pure, celebrated fashion by orchestrating a symbolic bombing, not unlike the 9/11 attacks. Out to rile the people out of their passive and oppressed existence and to commit to memory, the famed November 5th Guy Fawkes Day, V employs terrorist tactics and is seemingly ruthless and focused on his pursuit of justice and freedom. Hero or villain? And should the people be responsible and accountable for their own directions and existence, instead of relying solely on their government? The latter is the primary question the movie tries to address amidst intricate Shakespearean quotes spewed by the skillful and agile V, the antics of shady politicians, calls for revolution and the transformation of Natalie Portman's beguiled character.

Based on Alan Moore and David Lloyd’s graphic novel series conceptualised during the climate of Thatcher’s Conservative England, V for Vendetta is an explosive movie, not in the sense of Hollywood pyrotechnics or green-screen action, but in the passionate dialogue, gay sub-plot and the tender moments fuelled by the quiet affection between V and Evey. V is the relentless freedom fighter who goes on a killing spree of implicated scientists, media spokespersons, crooked clergymen and corrupt politicians. Evey is the average citizen, rescued by V during a rape attempt and becomes both mesmerised and fearful of V’s terrorist frolics. In between, the fervent chase and quiet questioning by the Chief Inspector and the several rebukes by the frustrated dictator, Chancellor Adam Sutler, pepper the plot.

Unfortunately, the main characters possess more dimensions than the movie itself. Scripted by the Wachowski brothers, there is little clever and subtle political mockery, for the movie is brimming with straightforward, contemporary allusions to the current climate of provoked fear and tyranny. Biological warfare, cover-ups and conspiracies, paedophilic priests, media manipulation, wiretapping, persecution of Muslims and gays and the Iraq war are explicitly referenced in the movie, making it part Micheal Moore mockumentary and part Orwellian. Produced by Joel Silver, action lovers can be contented by the effortless storyline and non-alienating narrative even if there is more convoluted dialogue than action in this movie, though not as tortuous as that in the Matrix trilogy. McTeigue’s direction manages to finely put it all together, even if we sense that everything has been put together through the manner of a Hollywood blockbuster checklist. B for direction.

Amidst the fashionable government-bashing and critique, it is the characters which make the movie much more compelling. V, played by a charismatic Hugo Weaving of The Matrix and LOTR trilogies, is both engaging and distant, as he weaves stylised theatrics and absurdity into his terrorist threat of blowing up the House of Parliament, to commemorate the 1605 “Gunpowder Plot” rebellion. Weaving, though limited by the mask which V dons, does an excellent job of channelling V’s fierce resolute whilst showing hints of complexity, shame and ambivalence. Together with his eloquent and unwavering delivery, Weaving crafts V as a hugely gripping character. Evey Hammond, played by Natalie Portman, is a reluctant television employee rescued by V and in the end, emancipated by V’s idealism. While Portman plays Evey with a slight brusque British accent, she portrays Evey in a restrained, understated manner, as she usually does for most of her previous characters. Her moment of revelation is to an extent, intense and emotive. Evey finds in V, a parental figure, a perplexing mentor and a restrained lover amidst the tender strains of Cry Me a River. At the end of the movie, the newfound vigour and fearlessness of Evey, becomes highly affecting, stirring and powerful. As we reach the rousing finale with the orchestral boom of Tchaikovsky's 1812, Evey’s strength and resolve is in almost, every one of us.

Overall rating: 4 out of 5 stars

London Hyatt's comments: Wah! Election coming and the gahmen never ban this movie? So confident! Frankly, I want to catch it again hehe. Suddenly Hugo Weaving sounds so sexy. Keep the mask on.

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