Masking Emptiness

Rating: 6/10 (1 May 2006)

We've seen the image before: a white, Spartan-dressed dictator commands hold of the vacant masses. His mannerisms are stern and his message is cleardefy me or die. And, with this mental picture it's easy to segue into the world of James McTeigue's action/social commentary film, V for Vendetta.
Vendetta's primary success centers around its enigmatic hero. Adapted from Alan Moore's often-lauded graphic novel of the same name, Vendetta tells the tale of the mysterious Guy Fawkes-masked 'V'an elegant terrorist if there ever was one. With the air of a modern Phantom of the Opera, V dashes through the streets of a dystopia London like a British Zorro. He's a man of the people, embracing anarchy in order to overthrow an obviously corrupt futuristic regime. And, as a result, it's hard not to get caught up with what the film throws at you. Just like the down-trodden populous that joins V's noble mission, the audience romps and rouses with every explosion and with every gloriously choreographed knife throw.
Amidst the poetic violence is Natalie Portman's Evey Hammond. Small and weak, Evey becomes a protégé of V's honorable madness. Portman plays her character strongly, if a tad forced. Her emotion is real and compliments V's theatrics well.
But, like V's mask, there is something darker underneath that glittering exterior. After the explosive fireworks die down, and it becomes possible to probe through the residual smoke, things aren't quite as appealing as they once seemed. At the heart of the matter, Vendetta is attempting to comment on a world that is too scared to stand up itself. As V succinctly puts it, "People should not be afraid of their governments. Governments should be afraid of their people." The words sound pretty, but the film fails to explore the ramifications of its message. We are never given the biting social satire of a film like Brazil or the hard hitting consequences of defiance presented in 1984. In turn, the result comes off tasting like stale bread.
But, beyond the fact that 'V' doesn't give us anything new, it has the audacity at the same time to pretend that what it's attempting to say is "edgy" or "subversive." Nothing could be further from the truth. It's a movie made for the massesthe same masses that gobble up "Rage Against the Machine" albums and T-shirts. The same group that screams "Power to the People" while simultaneously voting for American Idol. And, there lies the problem with V for Vendetta. It's a movie that is attempting to say big things, but not really saying anything at all; an attractive picture, but no meat underneath. Corrupt governments are bad? Really? You don't say...
This transparency is exemplified by Va character that is for all his moral speeches is nothing more than a static super hero. He slices! He dices! And, he knows how to alliteratively pronounce a lot of SAT WORDS! The void left by his static nature isn't filled by Portman's Evey, either. She seems to transform. But, really she wasn't one in need of convincing in the first place. By the time the film has ended, it is clear that V for Vendetta succeeds on a basic levelit punctures our emotions, and at the same time, is able to give us something that is visually engaging. However, once all is said is done, it is clear that a great charade has been played in front of our eyes. Portman's Evey emphatically reminds us to "Remember, remember the fifth of November," but ultimately we are not told a reason why.