04/24/06
"Versus" is a variation on the theme of the review columns written by myself and the other contributors to Pulp Fiction Online. While comic books are still at the heart of these reviews, this column will also be about the movie equivalent of a given comic. The mission of this column is to evaluate how good (or bad) a job the Hollywood brain trust does in translating a comic book property into a film. Think of it as a report card from an oft-uncompromising comic book geek to the moviemakers in Hollywood, some of whom distill out what makes a comic interesting in an effort to draw in a bigger crowd.
(Warning: there are * SPOILERS * throughout this column – make sure to see the movie and read the book before continuing...)
Versus - V For Vendetta
In the blue corner, weighing in at 230 lbs. (including 20 lbs. for Alan Moore's cool, hermit-like beard), is the original comic book mini-series V for Vendetta. Originally published in 1984, it is one of Moore's earliest works and, other than the references to "futuristic" dates that have already passed us by, is even more relevant today than it was when it was initially released. And in the red corner, weighing in at a waif-like 145 pounds (possibly from the workout regimen the actors in the Matrix films adhered to) is the movie version of V for Vendetta. Written by the Wachowski Brothers and directed by James McTeigue, this celluloid offspring of Alan Moore's subversive book, attempts to keep the edgy overtones established in the book while paring it down to fit within the average movie's run time. Does it succeed?
(I would have used the phrase "Let's get ready to rumble!!!!" to keep the fight night feel alive, but I really don't want to get sued by Michael Buffer.)
What the movie got right…
I get the feeling that the Wachowski Brothers are definitely fans of the comic. The overall look and feel of the film, while stylistically and aesthetically different in places retains the same dark vibe as the book. The London depicted in both the book and the film is not a particularly pleasant place to be, especially if you are in the unfortunate habit of thinking for yourself.
The movie opens with a reenactment of Guy Fawkes' attempt to blow up the British Parliament with gunpowder in 1605 with narration by Natalie Portman's character, Evey Hammond. This flashback sequence was not present in the book, but it serves its purpose. It lets the audience know where the character V gets the inspiration for both his appearance (a Guy Fawkes mask) and his mission more thoroughly than the simple recitation of the "Remember, remember, the Fifth of November" rhyme that V alluded to in the comic.
The most powerful elements of the story from the comic remain (for the most part) unchanged in the film version. Evey Hammond's first encounter with V, V carrying out his revenge against the people that tormented him, Evey's imprisonment and V's takeover of a TV station for a pirate broadcast were moments that made the book memorable, and they translated well to film. The climax of the comic, which involved using a train filled with high explosives to blow up the British Parliament building, was largely unchanged. This was a courageous move, considering the attitude towards terrorism in general and the similarities to the real-life terrorist attack on a subway car in London in particular.
The character of Evey seemed more fleshed out and sympathetic in the film than in the comic, due in no small part to Natalie Portman's performance. Evey, a naïve, callow waif in the comic, is skillfully played as a conflicted young woman by Portman. She struggles to reconcile V's righteous mission with his brutal methods, going as far as to try and save one of his intended victims in a bout of misguided conscience. The role of Gordon, a bit player in the book, is wonderfully fleshed out for the film. Gordon, originally just a landlord and friend of Evey's killed randomly by the police, is her employer and a TV talk show host that airs a Benny Hill-esque sketch featuring V and Britain's Chancellor that gets him in trouble with the fascist government.
Where it went wrong…
V For Vendetta is just too expansive a story to be faithfully translated to the big screen, as Sin City was. I feel that the film kept the tone that was established by the comic, and most of the plot points and characters altered or omitted for the film weren't sorely missed. For example, the Chancellor taking his marching orders from a supercomputer called FATE was a flourish that was left out, and the film was no poorer for it.
That being said, there were a couple of scenes from early in the comic book that should have been included. One is a particularly powerful scene featuring V in a delightfully demented conversation with a statue of Lady Justice, accusing her of cheating on him with Fascism and confessing to an affair with Anarchy. The scene ends with V blowing up the statue. Another scene I really missed seeing was V abducting Lewis Prothero, dressing him up in a military uniform and making him relive his past as the warden of the concentration camp where V was imprisoned. The film merely had V dispatch him in his house whereas the comic V psychologically tortured him by destroying his doll collection.
The only other beef I had with the film versions is that they defanged V just enough to make him more heroic. Hugo Weaving was a fine choice to play the mysterious V, but the screenplay called for a less threatening, more sympathetic protagonist than was featured in the book. In the film, V's television broadcast is an invitation to the common man to join his crusade and bear witness as he makes his move against Britain's fascist regime. The V of the comic book couldn't care less about the people, chiding them for their weak wills in electing tyrannical leaders throughout history.
After the dust has settled…
V For Vendetta is a well-executed film, and is definitely worth paying full price to see at a movie theater. Comic book purists can enjoy it as much as the average movie-goer, as long as they don't expect the film to be identical to the comic. Then again, of the movies that were based on Alan Moore creations (including Constantine & League of Extraordinary Gentlemen), this is easily the most faithful movie adaptation of Moore's source material. Here's some advice if you ever meet the illustrious Mr. Moore: Don't ask about the comic book sequel to Watchmen. He will hurt you bad (check out his battle with Oscar Wilde in the latest issue Toyfare Magazine to see what I'm talking about)!
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