Why would someone in the 2030's idolise and copy a 16th Century criminal, despite his treasonous act which isn't actually much to celebrate really.Īnyway I can't deny that Weaving's smooth charismatic tones were prefect for the voice of 'V'. I understand the notion of using the terrorist act of blowing up Parliament as brilliant symbol/sign of rebellion against the dictatorship that governs this universes UK, but why the need to dress up like Guy Fawkes complete with silly period wig and quaint facial mask?. What I have always found weird about this graphic novel creation is the obsession with Guy Fawkes. The plot is strange for sure, set in the future of the 2030's, its all about a totalitarian run UK and a certain freedom fighter (with the noted Guy Fawkes fetish) who uses the old 16th Century attempted terrorist act as his main influence for his own terror attacks.of freedom.Ī curious blend of fascism set against anarchy with an all American style matinée serial/pulp magazine hero in the middle. kind of a kinky dressing up as Guy Fawkes fetish thing going on. There's a definite Guy Fawkes motive running through this film isn't there, didn't notice at first (yes I'm being sarcastic).
Natalie Portman's accent falls off at times, but the lispiness seems at least consistent, and her performance throughout is every bit as good as her Oscar-winning one, though I do think she plays too coy during her "confession" with Father Lilliman so that she seems to be toying with him to aid in V's plan instead of seeking asylum for herself. Ben Miles of "Coupling" is also quite high of power and forehead.
Stephen Rea's yammy face and the smallest twitch of his lips convey Inspector Finch's every disguised exasperation at the tyrannical government he's tasked to protect, and this time around, I was truly invested in his character arc. I must also give kudos to the impressive cadre of British thespians that I was unfamiliar with before. I love the brilliantly paced and lovingly lit second act when Evey is taken prisoner and we learn Valerie's heartbreaking story. I love Dario Marianelli's soaring arpeggios and was surprised that I hadn't taken notice of him until "Atonement" in 2007. I love the high angle shots in the onyx, low-lit war room, with all those contemptuous whites of eyes staring up at the oppressive video feed of our corn-grilled chancellor. In 2005, I was blissfully enthralled by Natalie Portman in her follicular heyday, so I didn't quite appreciate the philosophical core of this visually and aurally stunning film.
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