Country: UK, USA & Germany
Runtime: 132 minutes
Original Release: 23rd February 2006 (Finland)
UK Release: 17th March 2006
US Release: 17th March 2006
First Seen: cinema, 2006
Natalie Portman (Léon, Thor)
Hugo Weaving (The Matrix, Captain America: The First Avenger)
Stephen Rea (The Crying Game, Underworld Awakening)
Stephen Fry (Wilde, The Hobbit: The Desolation of Smaug)
John Hurt (Alien, Hellboy)
V for Vendetta, a graphic novel by Alan Moore & David Lloyd.
In the near future, Britain is ruled by a tyrannical fascist government — considering the film was made in 2005, it’s probably set in about 2016 right? Anyway, masked freedom fighter V has his sights set on overthrowing the oppressive regime, partly in revenge for what they did to him…
In lieu of the more commonplace sobriquet, permit me to suggest the character of this dramatis persona. Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate. His visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished. However, this valorous visitation of a by-gone vexation, stands vivified and has vowed to vanquish the 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 you may call him V. Also Evey, a young woman V rescues and subsequently takes under his wing as a kind of protégée.
The fascist regime ruling near-future England, led by Supreme Chancellor
Donald Trump Adam Sutler and enforced by numerous toadies.
Best Supporting Character
Gordon Deitrich is a TV host who delivers government-sanctioned comedy to the masses, despite his distaste for the regime. Could something inspire him to stand up for what’s right? But at what cost?
“People should not be afraid of their governments. Governments should be afraid of their people.” — V
Bit of a spoiler, this, but the film’s most memorable imagery comes at the end: after V successfully blows up the Houses of Parliament, there is a massive crowd of onlookers, all wearing V’s Guy Fawkes mask. Then they take the masks of, revealing hundreds of ordinary people — including deceased characters. It’s allegorical, see.
The fight between V and a group of government agents in Victoria Station was shot at 60fps to play in slow motion, but the effect was emphasised further by having the stuntmen playing the agents actually move in slow motion, while stuntman David Leitch (later co-director of John Wick, fact fans) as V moved in real time, making it seem as if he was moving much faster than them.
Truly Special Effect
The scene where V is ‘born’ from fire isn’t CGI: stuntman Chad Stahelski (later co-director of John Wick, fact fans) actually walked through fire wearing nothing but fire-resistant gel and a g-string. His body temperature had to be lowered before the scene was shot. Fortunately, it was -3°C on the night of the shoot; then, 15 minutes before a take, Stahelski put on ice-cold flame-resistant clothing; when he took that off, he was covered with the fire-resistant gel, which had been on ice all day. Each to their own, eh?
James Purefoy was originally cast as V, but pulled out four weeks into filming and was replaced by Hugo Weaving. Because V wears his mask at all times, his dialogue is dubbed throughout (they tried attaching mics to the mask, but they didn’t work well), so the footage starring Purefoy was retained and Weaving’s voice was placed over it. Director James McTeigue later commented, “Can I tell the difference? Yeah. Can the audience tell? I doubt it.”
1 Saturn Award (Actress (Natalie Portman))
3 Saturn nominations (Science Fiction Film, Writing, Costume)
Nominated for the Hugo for Best Dramatic Presentation Long Form
What the Critics Said
“Just when we were ready to give up mainstream movies as braindead, along comes the controversial and gleefully subversive V for Vendetta, a piece of corporate-sponsored art that will have audiences rooting for a bomb-throwing anarchist. […] Much to the film ‘s credit, and to the exasperation of its critics, the audience is left to decide for itself whether V is a terrorist, freedom fighter, vengeance-seeking psychotic, or maybe all three simultaneously – and whether his extreme actions are a justifiable response to government repression. This pretty heady stuff for a big-budget comic-book movie” — Lou Lumenick, New York Post
What the Public Say
“Halfway through it occurred to me that ten years had passed since the film’s release. TEN YEARS. And yet the film’s overriding themes: the dangers of fascism, how fear can affect our actions, privacy versus the oft used term ‘national security,’ freedom of speech, intolerance of members of the LGBT community, and the manipulation and dissemination of information, are still very relevant today. Maybe even moreso. What separates good movies from great movies, often comes down to social relevance throughout the decades. Can it stand the test of time? Does it mean something similar in today’s society as it did when the film was first released? This is why films like Metropolis and Citizen Kane and In the Heat of the Night are still studied in film classes. Their themes are universal, something that can apply to most decades. V for Vendetta fits that category to a T.” — Darth Gandalf, Funk’s House of Geekery
IMDb Top 250 #157
Alan Moore and David Lloyd’s dystopic graphic novel was a reflection of the 1980s England in which it was originally published; then the film adaptation became a reflection of the mid-’00s world in which it was produced; and then it began to influence that world, with V’s Guy Fawkes mask becoming widely recognised as a symbol for certain protest groups. Although dressed up as part of an entertaining action movie, the story’s real topic is the rights and wrongs of government, and our attitudes and responsibilities towards it as citizens. That message feels as relevant as ever after the events of this year. Perhaps it always will — like George Orwell’s 1984, an enduring warning against things going too far. Let’s pray it’s heeded.
#97 will be… an animation investigation.