| V for Vendetta | |
|---|---|
Theatrical release poster |
|
| Directed by | James McTeigue |
| Produced by | Joel Silver Larry Wachowski Andy Wachowski Grant Hill |
| Screenplay by | Larry Wachowski Andy Wachowski |
| Based on |
|
| Starring | Natalie Portman Hugo Weaving Stephen Rea John Hurt |
| Music by | Dario Marianelli |
| Cinematography | Adrian Biddle |
| Editing by | Martin Walsh |
| Studio | Vertigo Comics Virtual Studios Silver Pictures |
| Distributed by | Warner Bros. Pictures |
| Release date(s) | December 11, 2005 (Butt-Numb-A-Thon) March 16, 2006 (Germany) March 17, 2006 (United States) |
| Running time | 132 minutes |
| Language | English |
| Budget | $54 million[1] |
| Box office | $132,511,035[1] |
V for Vendetta is a 2005 dystopian thriller film directed by James McTeigue and produced by Joel Silver and the Wachowski brothers, who also wrote the screenplay. It is an adaptation of the V for Vendetta comic book by Alan Moore and David Lloyd. Set in London in a near-future dystopian society, Natalie Portman stars as Evey, a working-class girl who must determine if her hero has become the very menace he is fighting against. Hugo Weaving plays V—a bold, charismatic freedom fighter driven to exact revenge on those who disfigured him. Stephen Rea portrays the detective leading a desperate quest to capture V before he ignites a revolution.
The film was originally scheduled for release by Warner Bros. on Friday, November 4, 2005 (a day before the 400th Guy Fawkes Night), but was delayed; it opened on March 17, 2006 to positive reviews. Alan Moore, having already been disappointed with the film adaptations of two of his other graphic novels, From Hell and The League of Extraordinary Gentlemen, after reading the script for V for Vendetta refused to view the film and subsequently distanced himself from it.
The film had been seen by many political groups as an allegory of oppression by government; libertarians and anarchists have used it to promote their beliefs. Activists belonging to the group Anonymous use the same Guy Fawkes mask popularized by the film when they appear in public at numerous high-profile events, emulating one of its key scenes. Artist David Lloyd is quoted saying: "The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny – and I'm happy with people using it, it seems quite unique, an icon of popular culture being used this way."[2]
Contents |
In the 2030s, the world is plagued by environmental blight and the United Kingdom is ruled by a totalitarian government under the fascist Norsefire party. Evey Hammond, a young woman who works at the state-run British Television Network, is rescued from an attempted rape perpetrated by members of the secret police (referred to as "Fingermen" by Evey) by a Guy Fawkes-masked vigilante known as "V". He leads her to a rooftop to watch his destruction of the Old Bailey. Norsefire tries to explain away the incident as a controlled demolition, claiming the building was no longer structurally sound, but V takes over the state television broadcast the same day, exposing the lie. He urges the people of Britain to rise up against the oppressive government and meet him in one year, on 5 November, outside the Houses of Parliament, which he promises to destroy. Evey helps V to escape, but is knocked out in the process.
V brings Evey to his lair, where she is told that she must stay in hiding until the 5th of November in the following year for her own safety. Upon learning that V is killing government officials, she escapes to the home of one of her superiors, Gordon Deitrich (Stephen Fry). Deitrich has a comedy TV show and one night he satirises the government. The secret police raid Deitrich's home, capturing him and Evey. She is incarcerated and tortured for days for information about V. She finds solace in notes written by another prisoner, an actress named Valerie Page (Natasha Wightman), who was arrested for being homosexual. Finally, Evey is told that she will be executed immediately unless she reveals V's location. An exhausted but defiant Evey says she would rather die, and is released. Evey discovers that she has been in V's lair all along, and that her imprisonment was staged to free her from her fears. She finds out Dietrich was executed for having a copy of the Quran. The notes were real, but they were passed by Valerie to V years earlier when he was similarly imprisoned. Although Evey initially hates V for what he did to her, she realizes she now feels stronger and free in spirit. She leaves him with a promise to return before the 5th of November.
Inspector Finch, Scotland Yard's chief of police, learns how Norsefire came to power and about V's origins in the course of his investigation. Fourteen years earlier, the United States had collapsed, the victim of an unleashed bio-weapon (secretly and deliberately utilized by the people who would become the core of the group Norsefire). It is also mentioned later on that the United States is suffering another civil war between the Midwestern states. Britain suffered in the resulting chaos. Norsefire led a reactionary purge to restore order, during which "enemies of the state" frequently disappeared. The country was divided over the loss of freedom until a coordinated bio-terrorist attack upon a school, a water treatment plant and a tube station resulted in around 80,000 deaths. The fear generated by the attack allowed Norsefire to win the next election, thereafter silencing all opposition and turning the United Kingdom into a totalitarian state under High Chancellor Adam Sutler. A cure for the virus used in the bio-terrorist attack was later unveiled by a pharmaceutical company with ties to Norsefire. Finch comes to realize that Sutler and his now security chief, Mr. Creedy, engineered the catastrophe to gain power. The virus was developed through deadly experimentation on "social deviants" and political dissidents at a detention centre in Larkhill where V had been detained with Valerie Page. Unlike the rest of the doomed prisoners, V gained heightened abilities and managed to escape when the centre was destroyed. Finch realizes that a string of murders involving high profile Norsefire party members are actually V taking revenge on those involved with Larkhill.
As the 5th of November nears, V's various schemes cause chaos in the UK and the population grows more hostile towards Norsefire. V organizes the distribution of thousands of Guy Fawkes masks. On the eve of the 5th, Evey visits V, who shows her a train in the abandoned London Underground which he has filled with explosives to destroy Parliament. He leaves it up to Evey whether to use it, believing that he is unfit to decide. V then leaves to meet Creedy, who had made a deal with V to hand over Sutler in exchange for V's surrender. Creedy kills Sutler in front of V, but V refuses to surrender and is shot multiple times by Creedy's praetorian guard. V survives due in part to his concealed armour breastplate, and kills Creedy and his men. Mortally wounded, V returns to Evey to thank her, and he tells her that he is in love with her. He dies in her arms.
As Evey places V's body in the train, she is found by Finch. Having learned much about the corruption of the Norsefire regime, Finch allows Evey to send the train on its way. Thousands of Londoners, all wearing the Guy Fawkes masks but unarmed, march on Parliament to watch the event. Because Sutler and Creedy are dead and unable to give orders, the military stands down in the face of a civil rebellion. Accompanied by the "1812 Overture", Parliament and Big Ben are destroyed as Evey and Finch look on. Finch asks Evey for the identity of V, to which she replies, "he was all of us."
V for Vendetta sets the Gunpowder Plot as V's historical inspiration, contributing to his choice of timing, language and appearance.[5] For example, the names Rokewood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas' The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.)[14][15][16] The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the Official Website, "V’s use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity – he becomes the idea itself."[5]
As noted by several critics and commentators, the film’s story and style mirrors elements from Gaston Leroux’s The Phantom of the Opera.[17][18] V and the Phantom both wear masks to hide their disfigurements, control others through the leverage of their imaginations, have tragic pasts, and are motivated by revenge. V and Evey’s relationship also parallels many of the romantic elements of the Phantom of the Opera, where the masked Phantom takes Christine Daaé to his subterranean lair to reeducate her.[17][18][19]
As a film about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including the Third Reich and George Orwell's 1984.[5][9] For example, Adam Sutler[9] primarily appears on large video screens and on portraits in people's homes, reminiscent of Big Brother. In another reference to Orwell's novel, the slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is Peace. Freedom is Slavery. Ignorance is Strength" in Orwell's book. This connection between the two can also be seen when Evey is being tortured and finds the rat in her room, akin to that being the protagonist's worst fear in 1984.[20] There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. Valerie was sent to a detention facility for being a lesbian and then had medical experiments performed on her, reminiscent of persecution of gays and Jews in Nazi Germany (see Persecution of homosexuals in Nazi Germany and the Holocaust).[18] The name of Adam Sutler is inspired by the name of Adolf Hitler. Sutler’s hysterical speech is also inspired from Hitler's style of speech although his targets for persecution now include Muslims rather than Jews. Indeed, Dietrich is executed once it is found he had possession of a Quran. Norsefire has replaced St George's Cross with a national symbol similar to the modern Cross of Lorraine (both crossbars near the top). This was a symbol used by Free French Forces during World War II, as it was a traditional symbol of French patriotism that could be used as an answer to the Nazis' Swastika. (The modern Lorraine Cross is also used by the American Lung Association as its symbol for the fight against tuberculosis). The media are also portrayed as highly subservient to government propaganda, a characteristic of totalitarian regimes in general. The symbol is, literally, a "double-cross" which ties in with the films' theme of corrupt government, and V's anti-authority position. A symbol called the double cross was also used as the flag of the totalitarian ruling party in Charlie Chaplin's The Great Dictator. In that film, it was meant to be a parody of the Swastika.
Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished. However, this valorous visitation of a bygone vexation stands vivified, and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violation of volition! The only verdict is vengeance; a vendetta held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous. Verily, this vichyssoise of verbiage veers most verbose, so let me simply add that it's my very good honour to meet you and you may call me V.
— V's alliterative introductory monologue upon meeting Evey
Are you, like... a crazy person?
— Evey's (dumbstruck) response
Similarly to the graphic novel, there is repeated reference to the letter “V” and the number five throughout the film (note that letter "V" is number five in Roman numerals).[21] For example, V's introduction to Evey is a monologue containing 48 words beginning with the letter "V", and containing a total of 52 letter "V"s. When Evey tells V her name he repeats it slowly as "E... V". In Evey's name, the letter "E" is the fifth letter of the alphabet, "V" is the fifth letter from the end of the alphabet and is the roman numeral for five, and The letter Y is the 25th letter of the alphabet; 25 being 5 squared. In Latin, Evey's phonetic name means "exit V"; the character V acknowledges this, knowing that this event has begun the chain-reaction of events which will end in his demise. During his imprisonment at Larkhill, V was held in cell "V", as is Evey during her fake imprisonment. V's Zorro-like signature is also the letter "V". In the explosion involving the Old Bailey, the fireworks form a red V configuration, completed by a circular firework, thus resembling not only V but the V for Vendetta logo. It is revealed that V's favorite phrase is "By the power of truth, I, while living, have conquered the universe", which according to the film translates into the 5 "V"ed Latin phrase: "Vi Veri Veniversum Vivus Vici". ("Veniversum" is actually written with a U, but in old Latin, the letter "U" was written as a "V.") In a dance with Evey, the song V chooses is number five on his jukebox. In fact, all the songs are song number five. When V confronts Creedy in his greenhouse, he plays Beethoven's "Fifth" Symphony, whose opening notes have a rhythmic pattern that resembles the letter "V" in Morse code (•••–).[22][23] The film’s title itself is a reference to "V for Victory".[24] As V waits for night to fall, he arranges a complex domino pattern in black and red which forms the V logo. In the short sequence overlooking the traincars, the railroad tracks form the letter V. In a flyover shot of London towards the end of the film, Big Ben is shown, with its hour hand pointing at 11 and the minute hand at 1, forming a V shape. When the time is read, it shows 11:05, another reference 11–5, or November 5. In the battle with Creedy and his men at Victoria station, he uses five of his six daggers and forms a "V" with his daggers just before he throws them. As V throws two of his daggers at the men on either side of Creedy, the daggers form a "V" shape five times while spinning through the air. After V kills Creedy's men, Creedy fires five shots at V. After the battle, when V is mortally wounded, he leaves a "V" signature in his own blood. The destruction of Parliament results in a display of fireworks which form the letter "V", which is also an inverted Circle-A, a symbol commonly used by anarchists.[25]
"We felt the novel was very prescient to how the political climate is at the moment. It really showed what can happen when society is ruled by government, rather than the government being run as a voice of the people. I don't think it's such a big leap to say that things like that can happen when leaders stop listening to the people."
With the intention of modernizing the film, the filmmakers added topical references relevant to a modern 2006 audience. According to the Los Angeles Times, "With a wealth of new, real-life parallels to draw from in the areas of government surveillance, torture, fear mongering and media manipulation, not to mention corporate corruption and religious hypocrisy, you can't really blame the filmmakers for having a field day referencing current events." There are also references to an avian flu pandemic, as well as pervasive use of biometric identification and signal-intelligence gathering and analysis by the regime.[20]
Many film critics, political commentators and other members of the media have also noted the numerous references in the film to events surrounding the then-current George W. Bush administration in the United States. These include the "black bags" worn by the prisoners in Larkhill that have been seen as a reference to the black bags worn by prisoners at Abu Ghraib in Iraq and in U.S.-administered Guantánamo Bay in Cuba, though the pre-Matrix draft of the screenplay also contains this reference to black bags.[26][27] Also London is under a yellow-coded curfew alert, similar to the US Government's color-coded Homeland Security Advisory System.[28] One of the forbidden items in Gordon's secret basement is a protest poster with a mixed U.S.–UK flag with a swastika and the title "Coalition of the Willing, To Power" which combines the "Coalition of the Willing" with Friedrich Nietzsche's concept of Will to Power.[29] As well, there is use of the term "rendition" in the film, in reference to the way the regime removes undesirables from society.[4] There is even a brief scene (during the Valerie flashback) that contains real-life footage of an anti-Iraq war demonstration, with mention of President George W. Bush. Finally, the film contains references to "America's war" and "the war America started" as well as real footage from the Iraq War. The film also makes a brief reference to wars in Syria and Kurdistan.
Despite the America-specific references, the filmmakers have always referred to the film as adding dialogue to a set of issues much broader than the U.S. administration.[9] When James McTeigue was asked whether or not BTN was based on Fox News McTeigue replied, "Yes. But not just Fox. Everyone is complicit in this kind of stuff. It could just as well been the Britain's Sky News Channel, also a part of News Corp."[9]
The film was made by many of the same filmmakers involved in the Matrix trilogy. In 1988, producer Joel Silver acquired the rights to two of Alan Moore's works: V for Vendetta and Watchmen.[30] After the release and relative success of Road House, writer Hilary Henkin was brought on to flesh out the project with an initial draft – one that bears little, if any, relation to the finished product, with the inclusion of overtly satirical and surrealistic elements not present in the graphic novel, as well as the removal of much of the novel's ambiguity, especially in regards to V's identity.[31] The Wachowskis were fans of V for Vendetta and in the mid-1990s, before working on The Matrix, wrote a draft screenplay that closely followed the graphic novel. During the post-production of the second and third Matrix films, they revisited the screenplay and offered the director's role to James McTeigue. All three were intrigued by the themes of the original story and found them to be relevant to the current political landscape. Upon revisiting the screenplay, the Wachowskis set about making revisions to condense and modernize the story, while at the same time attempting to preserve its integrity and themes.[5] James McTeigue cites the film The Battle of Algiers as his principal influence in preparing to film V for Vendetta.[5]
Moore explicitly disassociated himself from the film due to his lack of involvement in its writing or directing, as well as due to a continuing series of disputes over film adaptations of his work.[6] He ended cooperation with his publisher, DC Comics, after its corporate parent, Warner Bros., failed to retract statements about Moore's supposed endorsement of the film. Moore said that the script contained plot holes[32] and that it ran contrary to the theme of his original work, which was to place two political extremes (fascism and anarchism) against one another. He argues his work had been recast as a story about "current American neo-conservatism vs. current American liberalism".[33] Per his wishes, Moore's name does not appear in the film's closing credits. Co-creator and illustrator David Lloyd supports the film adaptation, commenting that the script is very good and that Moore would only ever be truly happy with a complete book-to-screen adaptation.[30]
V for Vendetta was filmed in London, UK, and in Potsdam, Germany, at Babelsberg Studios. Much of the film was shot on sound stages and indoor sets, with location work done in Berlin for three scenes: the Norsefire rally flashback, Larkhill, and Bishop Lilliman's bedroom. The scenes that took place in the abandoned London Underground were filmed at the disused Aldwych tube station. Filming began in early March 2005 and principal photography officially wrapped in early June 2005.[30] V for Vendetta is the final film shot by cinematographer Adrian Biddle, who died of a heart attack on 7 December 2005.
To film the final scene at Westminster, the area from Trafalgar Square and Whitehall up to Parliament and Big Ben had to be closed for three nights from midnight until 5 a.m. This was the first time the security-sensitive area (home to 10 Downing Street and the Ministry of Defence) had ever been closed to accommodate filming.[34] Prime Minister (at the time of filming) Tony Blair's son, Euan, worked on the film's production and is said (according to an interview with Stephen Fry) to have helped the filmmakers obtain the unparalleled filming access. This drew criticism of Blair from MP David Davis due to the content of the film. However, the makers of the film denied Euan Blair's involvement in the deal,[35] stating that access was acquired through nine months of negotiations with fourteen different government departments and agencies.[34]
The film was designed to have a future-retro look, with heavy use of grey tones to give a dreary, stagnant feel to totalitarian London. The largest set created for the film was the Shadow Gallery, which was made to feel like a cross between a crypt and an undercroft.[36] The Gallery is V's home as well as the place where he stores various artifacts forbidden by the government. Some of the works of art displayed in the gallery include The Arnolfini Portrait by Jan van Eyck, Bacchus and Ariadne by Titian, a Mildred Pierce poster, St. Sebastian by Andrea Mantegna, The Lady of Shalott by John William Waterhouse and statues by Giacometti. One of the major challenges in the film was how to bring V to life from under an expressionless mask. Thus, considerable effort was made to bring together lighting, acting, and Weaving's voice to create the proper mood for the situation. In order to prevent the mask from muffling Weaving's voice, a microphone was placed in his hairline to aid post-production, when his entire dialogue was re-recorded.[34]
The cast and film-makers attended several press conferences that allowed them to address issues surrounding the film, including its authenticity, Alan Moore's reaction to it and its intended political message. The film was intended to be a departure from some of Moore's original themes. In the words of Hugo Weaving: "Alan Moore was writing about something which happened some time ago. It was a response to living in Thatcherite England... This is a response to the world in which we live today. So I think that the film and the graphic novel are two separate entities." Regarding the controversial political content in the film the filmmakers have said that the film is intended more to raise questions and add to a dialogue already present in society, rather than provide answers or tell viewers what to think.[9]
The film adopts extensive imagery from the 1605 Gunpowder Plot, in which a group of Catholic conspirators plotted to destroy the Houses of Parliament in order to spark a revolution in England.[30] The film was originally scheduled for release on the weekend of November 5, 2005, the 400th anniversary of the Plot, with the tag line "Remember, remember the 5th of November", taken from a traditional British rhyme memorialising the event. However, the marketing angle lost much of its value when the release date was pushed back to 17 March 2006. Many have speculated that the delay was caused by the London tube bombing on 7 July and the failed 21 July bombing.[37] The film-makers have denied this, saying that the delays were due to the need for more time to finish the visual effects production.[38] V for Vendetta had its first major premiere on 13 February at the Berlin Film Festival.[9] It opened for general release on 17 March 2006 in 3,365 theatres in the United States, the United Kingdom and six other countries.[1]
As of December 2006[update] V for Vendetta had grossed $132,511,035, of which $70,511,035 was from the United States. The film led the United States box office on its opening day, taking in an estimated $8,742,504, and remained the number one film for the remainder of the weekend, taking in an estimated $25,642,340. Its closest rival, Failure to Launch, took in $15,604,892.[1] The film debuted at number one in the Philippines, Singapore, South Korea, Sweden and Taiwan. V for Vendetta also opened in 56 IMAX theaters in North America, grossing $1.36 million during the opening three days.[39]
The critical reception of the film was generally positive. Ebert and Roeper gave the film a "two thumbs up" rating. Roger Ebert stated that V for Vendetta "almost always has something going on that is actually interesting, inviting us to decode the character and plot and apply the message where we will". Margaret Pomeranz and David Stratton from At the Movies stated that despite the problem of never seeing Weaving's face, there was good acting and an interesting plot, adding that the film is also disturbing, with scenes reminiscent of Nazi Germany.[40] Jonathan Ross from the BBC blasted the film, calling it a "woeful, depressing failure" and stating that the "cast of notable and familiar talents such as John Hurt and Stephen Rea stand little chance amid the wreckage of the Wachowski siblings' dismal script and its particularly poor dialogue."[41] Sean Burns of Philadelphia Weekly gave the film a 'D', criticizing the film's treatment of its political message as being "fairly dim, adolescent stuff,"[42] as well as expressing dislike for the "barely decorated sets with television-standard overlit shadow-free cinematography by the late Adrian Biddle. The film is a visual insult."[42] On Alan Moore removing his name from the project, Burns says "it's not hard to see why,"[42] as well as criticising Portman's performance: "Portman still seems to believe that standing around with your mouth hanging open constitutes a performance."[42] Harry Guerin from the Irish TV network RTÉ states the film "works as a political thriller, adventure and social commentary and it deserves to be seen by audiences who would otherwise avoid any/all of the three". He added that the film will become "a cult favourite whose reputation will only be enhanced with age."[43] Andy Jacobs for the BBC gave the film two stars out of five, remarking that it is "a bit of a mess... it rarely thrills or engages as a story."[44]
V for Vendetta received few awards, although at the 2007 Saturn Awards Natalie Portman won the Best Actress award.[45] Rotten Tomatoes gives the film a 73% "Certified Fresh" approval rating; however, the rating from the 'top critics' was lower at 63%.[46] The film was nominated for the Hugo Award for Best Dramatic Presentation, Long Form in 2007.[47] V was included on Fandomania's list of The 100 Greatest Fictional Characters.[48] Empire magazine named the film the 218th greatest of all time.[49]
V for Vendetta deals with issues of homosexuality, criticism of religion, totalitarianism, Islamophobia and terrorism. Its controversial story line and themes have been the target of both criticism and praise from sociopolitical groups.
Justin Raimondo, editor of Antiwar.com, praised the film for its sociopolitical self-awareness and saw the film's success as "helping to fight the cultural rot that the War Party feeds on".[13]
Several anarchist groups have rejected the film, while others have used it as a means to promote anarchism as a political philosophy. On April 17, 2006 the New York Metro Alliance of Anarchists organised a protest against DC Comics and Time Warner, accusing it of watering down the story’s original message in favour of violence and special effects.[50][51] David Graeber, an anarchist scholar and former professor at Yale University, was not upset by the film. "I thought the message of anarchy got out in spite of Hollywood." However, Graeber went on to state: "Anarchy is about creating communities and democratic decision making. That’s what is absent from Hollywood’s interpretation."[52]
Film critic Richard Roeper dismissed right-wing Christian criticism of the film on the television show Ebert and Roeper, saying that V's terrorist label is applied in the movie "by someone who's essentially Hitler, a dictator."[53]
Meanwhile, LGBT commentators have praised the film for its positive depiction of homosexuals; Michael Jensen called the film "one of the most pro-gay ever".[12] David Walsh from the World Socialist Web Site criticizes V's actions as "antidemocratic" and cites the film as an example of "the bankruptcy of anarcho-terrorist ideology" stating that because the people have not played any part in the revolution, they will be unable to produce a "new, liberated society."[54]
Clay Duke, the perpetrator of the 2010 Panama City school board shootings was reportedly obsessed with the film V for Vendetta. Prior to the shootings and his eventual suicide, Duke spray-painted a red V inside a red circle, a supposed allusion to his fascination with the graphic novel.[55]
The film's story was adapted from the V for Vendetta graphic novel by Alan Moore; this was originally published between 1982 and 1985 in the British comic anthology Warrior, and then reprinted and completed by DC. Moore's comics were later compiled into a graphic novel and published again in the United States under DC's Vertigo imprint and in the United Kingdom under Titan Books.[56]
There are several fundamental differences between the film and the original source material. For example, the comic is set in the 1990s, while the film is set sometime between 2028 and 2038: Alan Moore's original story was created as a response to British Thatcherism in the early '80s and was set as a conflict between a fascist state and anarchism, while the film's story has been changed by the Wachowskis to fit a modern political context. Alan Moore, however, charged that in doing so, the story has turned into an American-centric conflict between liberalism and neo-conservatism, and abandons the original anarchist-fascist themes. Moore states, "There wasn't a mention of anarchy as far as I could see. The fascism had been completely defanged. I mean, I think that any references to racial purity had been excised, whereas actually, fascists are quite big on racial purity." Furthermore, in the original story, Moore attempted to maintain moral ambiguity, and not to portray the fascists as caricatures, but as realistic, rounded characters. The time limitations of a film meant that the story had to omit or streamline some of the characters, details, and plotlines from the original story.[5] Chiefly, the original graphic novel has the fascists elected legally and kept in power through the general apathy of the public whereas the film introduces the "St. Mary's virus," a biological weapon engineered and released by the Norsefire party as a means of clandestinely gaining control over their own country.
It is implied that certain events in the film take place over a much shorter period of time than in the graphic novel. At one point in the latter, Evey's head is shaved completely bald; by the end, her hair has grown back. In the corresponding sequence in the movie, Evey's hair is shaved but it remains so until the end.
Many of the characters from the graphic novel underwent significant changes for the film. V is characterized in the film as a romantic freedom fighter who shows concern over the loss of innocent life.[57] However, in the graphic novel, he is portrayed as ruthless, willing to kill anyone who gets in his way. Evey Hammond's transformation as V's protégée is also much more drastic in the novel than in the film. At the beginning of the film, she is already a confident woman with a hint of rebellion in her; in the graphic novel she starts off as an insecure, desperate young woman forced into prostitution. V and Evey's relationship, though not as obvious in the book, ends in the film with pledges of love. In the graphic novel's finale, she not only carries out V's plans as she does in the film, but also clearly takes on V's identity. [6] In the film, Inspector Finch sympathizes with V but in the graphic novel, he is determined to stop V and goes as far as taking LSD in order to enter into a criminal's state of mind. Gordon, a very minor character in both adaptations, is also drastically changed. In the novel, Gordon is a small-time criminal who takes Evey into his home after V abandons her on the street. The two share a brief romance before Gordon is killed by a Scottish gang. In the movie, however, Gordon is a well-mannered co-worker of Evey's, and is later revealed to be gay. He is killed by fingermen after turning his TV program into a tool for political parody. [6]
V for Vendetta was released on DVD in the US on 1 August 2006[58] in three formats: a single-disc wide-screen version, a single-disc full-screen version, and a two-disc wide-screen special edition.[59] DVD sales were successful, selling 1,412,865 DVD units in the first week of release which translated to $27,683,818 in revenue. By the end of 2006, 3,086,073 DVD units had been sold, bringing in slightly more than its production cost of $58,342,597.[60] The single disc versions contain a short (15:56) behind-the-scenes featurette titled "Freedom! Forever![61] Making V for Vendetta" and the film's theatrical trailer, whereas the two-disc special edition contains three additional documentaries, and several extra features for collectors. On the second disc of the special edition, a short Easter egg clip of Natalie Portman on Saturday Night Live can be viewed by selecting the picture of wings on the second page of the menu. The film has also been released on the HD DVD high definition format, which features a unique 'in-movie experience' created exclusively for the disc. Warner Bros. later released the video on Blu-Ray, on 20 May 2008.[62] The movie also saw release on Sony's PSP UMD format.
The V for Vendetta soundtrack was released by Astralwerks Records on March 21, 2006.[63] The original scores from the film's composer, Dario Marianelli, make up most of the tracks on the album.[64] The soundtrack also features three vocals played during the film: "Cry Me a River" by Julie London, a cover of The Velvet Underground song, "I Found a Reason" by Cat Power and "Bird Girl" by Antony and the Johnsons.[64] As mentioned in the film, these songs are samples of the 872 blacklisted tracks on V's Wurlitzer jukebox that V "reclaimed" from the Ministry of Objectionable Materials. The climax of Tchaikovsky's 1812 Overture appears at the end of the track "Knives and Bullets (and Cannons too)". The Overture is played at key parts at the beginning and end of the film.
Three songs were played during the ending credits which were not included on the V for Vendetta soundtrack.[64] The first was "Street Fighting Man" by The Rolling Stones. The second was a special version of Ethan Stoller's "BKAB". In keeping with revolutionary tone of the film, excerpts from "On Black Power" (also in "A Declaration of Independence") by black nationalist leader Malcolm X, and from "Address to the Women of America" by feminist writer Gloria Steinem were added to the song. Gloria Steinem can be heard saying: "This is no simple reform... It really is a revolution. Sex and race, because they are easy and visible differences, have been the primary ways of organizing human beings into superior and inferior groups and into the cheap labour on which this system still depends." The final song was "Out of Sight" by Spiritualized.
Also in the film were segments from two of Antonio Carlos Jobim's classic bossa nova songs, "The Girl From Ipanema" and "Quiet Nights of Quiet Stars". These songs were played during the "breakfast scenes" with V and Deitrich and were one of the ways used to tie the two characters together. Beethoven's Symphony No.5 also plays an important role in the film, with the first four notes of the first movement signifying the letter "V" in Morse code.[22][23] Gordon Deitrich's Benny Hill-styled comedy sketch of Chancellor Sutler includes the "Yakety Sax" theme. Inspector Finch's alarm clock begins the morning of November 4 with the song "Long Black Train" by Richard Hawley, which contains the foreshadowing lyrics "Ride the long black train... take me home black train."
The original graphic novel by Moore and Lloyd was re-released as a hardback collection in October 2005 to tie into the film's original release date of November 5, 2005.[65] While the film may lack acceptance by some anarchists, it renewed interest in Alan Moore's original story, and sales of the original graphic novel rose dramatically in the United States.[66]
A novelisation of the film, written by Steve Moore and based on the Wachowski brothers' script, was published by Pocket Star on January 31, 2006. Spencer Lamm, who has worked with the Wachowski brothers, created a "behind-the-scenes" book. Titled V for Vendetta: From Script to Film, it was published by Universe on August 22, 2006.[67]
As well as promotional items created to publicise the film (which included a shoulder bag and bust of "V"'s Guy Fawkes mask), replicas of the mask and action figures were released.[68] Figures released by NECA include a 12-inch (30 cm) action figure which speaks phrases from the film, a 12-inch resin statue and a seven-inch (17 cm) figure.[69]
Semi-official V costumes have been created for Halloween. These range from the full costume of cape, hat, mask and dagger-belt, to various individual aspects—gloves, hat, mask, hair, and daggers.[70] All are available separately or in combinations. Anti-Church of Scientology protestors claiming affiliation to the Internet-based group Anonymous used Guy Fawkes masks during demonstrations against Scientology from 2008 to 2010, and continue to wear them during their global protests.[71]
For more, see section "Cultural impact" in entry "V for Vendetta" (i.e., about the story, not just the film adaptation of it).
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