Yesterday, I reviewed the V for Vendetta graphic novel. I was generally impressed, but a lot of “dystopia” material came out of the latter half of the 20th century, so by the time I got around to reading Moore and Lloyd’s work, I found it hard to be overly impressed. Also, the length of the story and the numerous elements introduced made it difficult to follow at times. That figures prominently into my review of the film V for Vendetta (2005).
First of all, who wouldn’t be excited to watch a film starring Hugo Weaving (as “V”), Natalie Portman (as “Evey”) and particularly John Hurt (as “Adam Sutler”)? I was really looking forward to the experience but at the same time, worried because films almost never do justice to their original print or graphic novel source. This time, I’m not so sure the rule holds.
I mentioned before that I believe Moore was a bit too lengthy in his writing of the graphic novel. It made it difficult for me as the reader to be able to grasp and hold all of the various threads he introduced and have them all come together in a cohesive manner by the last page. As a film where everything had to be introduced, expressed, and resolved in 132 minutes (the film’s running time), brevity and economy was forced upon the story, making the movie version of “V for Vendetta” quite a bit more efficient than the print version. Of course, part of the motivation behind cutting down the length was to accommodate modern audiences, both in how long they can tolerate sitting on their bum in a movie theatre, and in appealing to a wider population than might be attracted to Moore’s and Lloyd’s production.
I’m repurposing another review I posted sometime back on another blog.
When I wrote this review, I hadn’t yet seen the film V for Vendetta (2005) starring Natalie Portman and Hugo Weaving but I just finished Alan Moore’s and David Lloyd’s graphic novel (originally a ten-issue comic book series) and thought, given the wide use of the Guy Fawkes mask by “hacktavist” group Anonymous and some protesters with the Occupy Wall Street movement (which is worn in both the comic book and film versions of the story by the main character), that it was high time to look at the source material for these modern, real-life responses to what we think of as oppression in our world.
The original comic book series was developed and published in 1985 by writer Alan Moore, a self-proclaimed anarchist, and artist David Lloyd. Essentially it is one in a long series of dystopian dramas set in the near future (the late 1990s in the comic book series), this time in England. A nuclear war has destroyed much of the developed nations of the world but left England untouched, at least directly. In response to the war, a totalitarian government has come to power, styled after the Nazis, and has seized total control of the country. Much like Orwell’s 1984, omnipresent government surveillance observes the public, while a propaganda campaign continually feeds the citizens the usual “the government is on your side” messages, underscored by threats for thinking otherwise. Headed by “the Leader” who uses organizations called “Nose,” “Ear,” and “Mouth” as detection and communication conduits, and an information system called “Fate,” every aspect of an individual’s life is monitored and controlled.