I didn’t see this film on the big screen, and as I watch it begin now on the new DVD, I think maybe I should have. The portentous introduction, I suspect, would have played better in a dark theater than a living room with distractions abounding. It quickly became irrelevant, though, as I got lost in the movie.
This two-DVD set (review copy provided) has
- the trailer
- a 15-minute making-of with artist David Lloyd, producer Joel Silver, director James McTeigue, Natalie Portman, Stephen Rea, and Stephen Fry (who provides the best justification of graphic novels as art on the disc, but I would expect no less from a writer)
- a 20-minute piece on the movie’s design (which talks about how interesting it was to make an anti-fascism film in Berlin) and visual effects
- 12 minutes of information on Guy Fawkes and other key events in English history
- an Easter egg (the foul-mouthed-but-bleeped Portman rap from Saturday Night Live)
- a 15-minute documentary on the graphic novel “and the New Wave in Comics” that includes David Lloyd, Karen Berger, Bill Sienkiewicz, Paul Levitz, Geof Darrow, Paul Chadwick, and some of the movie folk. It starts out with comic history in the 1950s, including the Comics Code, that had us quibbling. Berger tries to say American comics were all about superheroes until the British comic revolution, which ignores the diversity of genres in the 50s, and later on, Levitz says that black-and-white art reminds readers of editorial cartoons. (The series was originally in black-and-white, which leads to film noir comparisons, until Lloyd says it’s because they couldn’t afford anything else.) Many of the interviews were filmed, based on the scenery out the window, at San Diego. I didn’t learn anything new, but then, I wouldn’t have. For movie viewers, it’s a nice overview, serious and significant without being too long.
The single-disc edition just has the movie and the making-of.
The mood of the film quickly overtook me, so that I forgot I was watching, instead experiencing. Visually, it’s very impressive, especially when it moves out of the studio and into the city or during the knifework. There were times when V’s speeches blended into background noise while images washed over me.
Natalie Portman was better than I expected (I’m not a fan), but I always enjoy seeing Stephen Rea, Stephen Fry, and Hugo Weaving. That’s a very nice job of voice acting, spending the movie behind the mask but still creating an expressive character.
I tried to reread the graphic novel when the movie came out, but it was for me too much of its time. (I know some disagree, and I see their points, although it doesn’t work that way for me.) I do think that the lengthy speeches, especially the one with all the Vs, work better in print, where they can be read at the reader’s preferred speed.
The film, on the other hand, is very much of the now, with media manipulation, increating governmental control, and lying politicians more concerned with impressions than fulfilling their purpose. It seems more American than English to me, but at least with the British setting, I got to hear some wonderful accents.
Personally, I was surprised on the making-of to hear the director talking about making Evey less of a pawn and giving her more intelligence than in the graphic novel. It was surprising because I found myself thinking that she doesn’t actually do very much, mostly serving as motivation for the male characters. If that’s been beefed up, then I’m glad I haven’t reread the book recently.
I’m also glad to have this available in a more permanent form, because I suspect it’s one of those movies that will change for me as I do. By that I mean that it asks for the reader’s interpretation, and as I change over time, I’ll find different things in it. The film modernizes the original graphic novel in a way that’s reminiscent of elements of Brazil and Network.
It’s not often that I find myself admiring a crazy terrorist who’s surrounded himself with popular culture. I thought the mask worked wonderfully, with many scenes the more powerful for staring at that unmoving, grinning face. This may just be the best superhero movie ever; it’s certainly the best use of a mask and cape.
Apropos of nothing else, I wonder why they chose the Cross of Lorraine for the fascist symbol. I saw something about it being the symbol of the Free French during World War II. Is there some kind of ironic reversal behind the choice?
More information is available at IMDB. The DVD is available August 1.
(And now, a personal story — V for Vendetta was the most difficult trade paperback KC worked on at DC. By the time they decided to do the collection, a whole bunch of other countries had already done one, using DC’s film.
The film was normally set up eight pages to a sheet, but it had all been sliced into individual pages on its journeys, and all the identifying page marks had been removed. Since it was a four-color printing process, there were four sheets of film for each page, one each for black, cyan, yellow, and red.
The only way to resolve this situation was to find the black plate for each page and compare it to the original comic. KC set up shop in a conference room with track lighting and taped the black films up, one page to a light, to see which ones were which. Each color sheet then had to be matched to the black plates one by one. The end result was two weeks of solid work to assemble the film, stopping whenever the room was needed for meetings.
The film also had all the opaquing on it that the other countries used to white out the word balloons to substitute their own language. It all had to be washed off by hand. Because this wasn’t the first time the film had been opaqued and washed, it was in terrible shape, and much of the lettering had closed up, including approximately 90% of the Es.
There were thousands of these lettering corrections, which would be done by the printer when they shot new film. Weeks later, KC was summoned into Levitz’s office, along with Production Manager Bob Rozakis, where Levitz told KC that the cost of the film corrections for this book was astronomically high. KC had been told to fix what was wrong, which included broken lettering, only no one had told him what a normal number of corrections would be or how much it would cost.
KC felt that Levitz wanted to be angry about it but had to settle for resigned frustration. KC had done what he was instructed to do, and Rozakis backed him up. KC remembers Levitz saying something about that as a result, the collection wouldn’t go into profit until its third printing, due to the correction costs, but I don’t think that’s a problem now.)