In a future British tyranny, a shadowy freedom fighter, known only by the alias of “V”, plots to overthrow it with the help of a young woman.
The year is 2020, a news segment hosted by an angry hulking man, Lewis Prothero (Roger Allam), lays out the current geopolitical situation. Uncle Sam bioengineered a virus that caused a global pandemic, and now they’re begging for international aid. While screaming he declares, “The United States is so desperate for medical supplies, they’ve sent several containers filled with wheat and tobacco as a gesture of goodwill.” Prothero then launches into a tirade about how the British government should dump those supplies into the sea as the Tea Party did during the American Revolution. Prothero reminded me of the detestable Ian Paisley, a Protestant agitator that would deliver hateful sermons about the Catholic minority in Northern Ireland during The Troubles.
Later that night, Evey (Natalie Portman) is walking down a dark Victorian cobblestone street as she’s approached by a few “Finger Men.” They are London’s Gestapo-like police unit who brutally arrest anyone disobeying the strict curfew. The men begin to assault Evey when all of a sudden a large figure draped in a black cape and wearing a Guy Fawkes mask appears. The man is none other than the much sought after vigilante V (Hugo Weaving), who speaks dramatically with the use of alliteration and literary references. After a rousing combat sequence with the fascist force, V slices his moniker into a poster with his impeccable daggers. After convincing Evey to tag along, they climb on a rooftop nearby and Tchaikovsky’s “1812 Overture” begins blaring over London’s loudspeakers. Just as the music begins to crescendo a massive display of fireworks and explosives blow up The Old Bailey while V dances and laughs victoriously.
V has been targeting high-level government officials who have nefarious ties to a secret prison and a mysterious pharmaceutical company. At every crime scene, V being a master of meaningful theatrics leaves a rare Scarlet Carson Rose that only grows in the historically occupied Northern Ireland. These assassinations bring along Inspector Finch (Stephen Rhea), an overly-inquisitive Irish investigator, unfolding dark state secrets and questioning his role more every day. There are some insightful interactions that due to his heritage, Finch is looked down upon by his Anglo colleagues and superiors.
High Chancellor Sutler (John Hurt), the sole ruler of the regime, is only shown on a large screen shouting hateful speeches and admonishing his inferior officials sitting at a futuristic round table. Their number one concern is the masked vigilante and bringing him in. Hurt is splendid with his gruff voice barking insidious insults at his underlings. The round table is cast by some excellent actors like Eddie Marsan and Tim Pigott-Smith. Pigott-Smith plays Creedy, the head of the Finger Men, and one of the most intimidating villains in the film of which there are quite a few. Fortunately, it’s not only bad guys, the character Dietrich (Stephen Fry), who hosts a popular late-night talk show, is a kind ally to Evey and a warm presence.
Evey is a low-level employee for a right-wing propagandist news network and she returns to work. Unbeknownst to her, V infiltrates the studio and hacks into their network to deliver a revolutionary anti-fascist manifesto. Promising that in a year on the next fifth of November, “it will be a night never forgot.” After his broadcast is cut short by security, he designs a clever doppelgänger distraction and engages in another magnificent brawl. This time he uses his daggers and it’s a thrillingly choreographed scene with thumping sound effects while he swiftly vanquishes his opponents. During V’s escape, Finch’s partner points a gun at him and Jane maces the young inspector. Before being detained he grabs Evey and brings her to his secret lair.
Although Hugo Weaving remains under a mask for most of the action, his charismatic voice and physical performance give the emotionless disguise a dynamic persona. V’s lair is named The Shadow Gallery and it’s a cozy bunker adorned with priceless art and a gorgeous antique jukebox which have been outlawed by the totalitarian government. Evey is astounded that he would steal from the state to which V replies, “You can’t steal from a censor, you merely can claim it.” He makes her a delicious breakfast that includes butter, a rare ingredient that he hijacked from a supply train headed for the High Chancellor. This scene is a great example of the use of art being preserved and classical compositions exhibiting the timeless importance of it all.
The sets and costumes are mainly monochromatic with shades of crimson, and the lack of color and individuality are inevitable results of living under a fascist regime. I was saddened to read this was cinematographer Adrian Biddle’s final film, he passed away soon after filming completed. I looked up his filmography and couldn’t believe some of the iconic films he shot: “Thelma and Louise,” “Aliens,” and “The Princess Bride,” to name a few. His work here with director James McTeigue is fluid and the duo maneuver lights and shadows for stark compositions.
There’s rarely a moment or storyline wasted during the film’s two-hour-plus run time. In particular, the series of letters Evey reads during a crucial scene is beautifully told. The letters tell a story of a lesbian romance showing the hardships, and necessary resilience it takes to survive while being oppressed. It’s worth noting that “V for Vendetta” was made in 2005 when gay marriage was still outlawed in the United States.
Living in 2020 during a pandemic, I’m ever thankful for intelligent and inspirational art that can potentially shape minds or at the least be cathartic when living under relevant circumstances. I could go on about the story but I’ll end with a quote from V, “People should not be afraid of their government, governments should be afraid of their people. I couldn’t agree more!
Available on 4K Ultra HD Blu-ray Combo Pack and Digital HD November 3rd
