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V on Vendetta knew our future would be bleak

The Verge is a place to consider the future. This is also the case in movies. In yesterday’s film yesterday, we review the film about the future and discuss the things it tells us about today, tomorrow and yesterday.

Movies: V for Vendetta (2006), directed by James McTeigue

The future: In V for Vendetta, a lot went wrong very quickly and there doesn’t seem to be much to do. The film will be shown in 2020, and London is now authoritarian under the fascist Chancellor Sutler (John Hurt), the leader of the extraordinarily Nazi Norsefire party.

The parallels with 2020 are worrying. In the real world: “St. The “Mary Virus” hit a pandemic in a world that hit the United States (which is certainly not part of the film’s plot in central London) and sent it on the path of economic collapse and civil war. The Norsefire party, engaging in a wave of neoconservative support, locks gays and any people who practice a religion other than the state-sanctioned church and is supported by the state media. Surveillance is almost unusual: government vans regularly sweep the streets to listen to citizens.

This is the world where we meet Evey Hammond (Natalie Portman), a carefree employee of the British television network. One night she was threatened with sexual assault from the secret police and was later rescued by V (Hugo Weaving), a superhuman terrorist under the guise of Guy Fawkes. Like Guy Fawkes, V has a plan to blow up Parliament and kill several members of the government responsible for taking over Norsefire and, as it turns out, his own creations. The film ends before we find out if he’s lucky, but not when the citizens of London are inspired to also donate a mask and take it to the streets.

Past: V for Vendetta, although it does not mean that the work is the comics of Alan Moore and David Lloyd on which it is based, is a film that speaks non – politically about a terrorist. 2006 March. It felt like a radically popular film that Wachowski wrote as his first major project after Matrix trilogy. Reviewers were impressed by this.

“The clearest aspect of the film is how a terrorist is turned into a crushing hero while remaining politically correct.” guardian film critic Philip French wrote in his review. “What can’t be built is to build a secure future or avoid pomp.”

“By all rights, this should be the worst time imaginable to run V On the Vendetta, a film with – certainly not a polite word – the hero of terrorism tends to say things like “Violence can be put to good use” and “Sometimes the blasting of a building can change the world.” Keith Phipps review begins AV club. “Why? V On the Vendetta to play as such a crowd pleasure provider?

Just five years from 9/11, and the same year that the U.S. war on terror began, the most popular film governing a terrorist felt radical in a way that was arrested almost immediately. The film softens this very obvious edge with obvious hints of 1984, making it feel like George Orwell as Lloyd and Moore.

Alan Moore, the writer of the comics on which the film is based, has refused to allow his name to appear in the film or in any material promoting it. (It was quite clear to Moore that he objected any an adaptation of his work in principle, regardless of quality.) Purists would oppose a film that diminishes the very specific response of source material to Thecherite England to the Bush-era American metaphor (in a story where America is apart) or the way the film turned V into a more daring hero, not the extremist who died in the villa. However, time has allowed all of these points to be effectively undermined. The film now faces much differently.

Current: Looking back, both V for Vendetta lack of specificity. Her Orwellian aesthetics provide a kind of timeless plywood, and her arguments about fascism and the creeping death of freedom are old, which become painfully relevant every time the rulers try to undermine democracy.

The most enduring symbol of the film is the mask that the hacktivist group Anonymous accepted as a sign of real-world protest in early 2010, when Occupy Wall Street was the most widely known activist movement in the United States. Unfortunately, Guy Fawkes’s smiling mask signified an anonymous solidarity that indicated something vital to institutional oppression: it is not applied uniformly.

2020 The attacks on democracy are grim and obscure, and we are painfully well aware that subtlety is not a sign of the reach of authoritarianism. In fact, as critic Scott Meslow wrote in 2018, meanwhile V for Vendetta has more bites than it did when releasing, now you can tell it’s not far enough.

“It is an imaginary universe in which the death of one innocent little girl could inspire the whole of society to stand up to the militaristic police force,” Meslow writes. “It is an imaginary resistance to an anti-democratic political movement, caused in part by powerful but principled members of that political movement. Modern adaptation can reject all those plot points as too optimistic. “

V for Vendetta is not particularly concerned with details – creeping concessions to fascists are told in a gloomy cascade, and resistance is aroused in one dramatic action. The film as a whole is small; Evey’s only prospect is to grab Finch (Stephen Rea), a Scottish yard inspector who goes down Trail V and discovers that the government has created a crisis that has sparked its power. Through Finch, we put it all together, and to the best of the film’s impression, it’s all portrayed in one dramatic montage: corruption, domination, and revolution that coexist because the events depicted in the film are intertwined with scenes that will soon take place. end of movie 30 minutes.

It works great, but explains how much work it is to defend democracy – how many people who need to protest near you actually choose the rule of fascism as long as the fascists follow them as institutions built not for democracy but for normalcy, and how the people who govern them will always choose the latter over the former.

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