V for Vendetta (film)

Natalie Portman's shaved head, eh?
Hugo Weaving in a mask, eh?
Terrorism against a totalitarian society, eh?

Evoking the comic book noir we've come to know and expect of recent graphic novel adaptations (think 'Sin City' and 'Batman Begins'), 'V for Vendetta' uses gritty London streets as the backdrop for its anti-hero's antics. At the centre of the action is the mysterious 'V' (also referencing the number 5 in Roman numerals). All we learn of his past is that he was experimented upon at an institution and is now knocking off those who were in charge at the facility, one by one. The big picture is the fascist regime put in place by Chancellor Sutler; no one is comfortable but everyone seems powerless to resist him. Until V promises to blow up Parliament House on Guy Fawkes Day (November 5). Caught in his swing is Evey, rescued, then captured by the masked maniac.

V's capers are deliciously clever and poetic, from broadcasting his 'revolution' to the roses that he leaves as his nemeses die, in remembrance of a lesbian who once wrote to him about her unjust incarceration. Evey is more or less a wide-eyed damsel in distress though Portman does cultivate a sense of awareness about V's plight as the story moves along.

'V for Vendetta' is about strength, conviction and strength of conviction as the masses rise up against the oppressive government. Weaving is excellent as the masked crusader - his silky, deep voice fits perfectly behind the mask, which is never removed. Even though we never see his face he cuts a fine, even debonair, figure in his swordplay and uniform of black. Kudos to the costume department, methinks. Stephen Rea is also great as police officer Finch who, uncomfortable about his party's policies, nevertheless uncovers more and more about V's past under their orders then finds himself sympathetic to the cause. The weakest link is Portman's Evey. She isn't completely hopeless but she has a strange British accent and exudes passivity for most of what is essentially an active film, tempering the pace. Her greatest moment is when she is improsoned and her anxiety about her future turns to resolve.

The main problem is that she is Natalie Portman playing Evey, not Evey who happens to be played by Natalie Portman. Because Weaving is masked, the Evey character may have been better off being played by an unknown actress (not Scarlett Johansson!) so that a famous face did not take away from the main character. You know, like how whenever Julia Roberts is in a movie, no matter how great her acting, you think of her as Julia Roberts not the character?

Apart from all the darkness then fireworks, the film has many humorous punctuations with observations about masks ("I'm merely remarking on the paradox of asking a masked man who he is"), an odd scene with a bishop, a Benny Hill tribute and some coincidences involving the cooking of toad-in-the-hole (toast with egg in the middle). The token 'love story' was rubbish (the Wachowskis ruin 'The Matrix' in the same way) and unfortunately that brings down the excitement of a revolution down a notch for its selfishness. Still, it's a great looking movie and the strength of its themes in these troubled times cannot be denied.

**** - dark themes and fantastical elements combine beautifully