090 V for Vendetta (2006)
“HE WAS ALL OF US.“
Hello everyone! We are back to talk about another film that may have aged a little better than we hoped, and we might all be worse off for that. We are talking about 2005’s V For Vendetta, directed by James McTeague, starring Natalie Portman and Hugo Weaving, written by one of the podcast’s favorite sibling duos, the Wachowski sisters! On this episode we talk about just how relevant the film feels, especially while living in America. In the world of V, we are living in a fascist, police state, ravaged by a viral outbreak, with state sponsored media spreading fear and propaganda, an authoritarian government seizing personal freedoms while the oligarch class is protected and reaping all the benefits of their crimes against humanity. An all too familiar world for anyone not living under a rock. Even though the original Alan Moore graphic novel was written in response to Margaret Thatcher’s Britain in the 1980’s, and the Wachowski’s screenplay was written perhaps in response to the 2nd (or rather, 3rd) Bush Administration, perhaps the heart of the story is what it takes to survive these oppressive regimes.
Speaking of Alan Moore, we talk about why the acclaimed graphic novel writer distanced himself from the film. When the frequent Wachowski collaborator and producer Alan Silver claimed Moore gave the film his blessing, which he did not, Moore asked for his name to be removed from the credits. Even still, Moore rejected the script itself and when we examine the differences between the film and source material we can see why. Both the graphic novel and film can be seen as separate, complimentary stories, but are so vastly difference that we can’t really say it’s a “good adaptation,” despite being fond of both. Listen to the full episode for more on this!
We also talk about what the Wachowskis bring to the film. It wasn’t directed by them, but by their assistant director from the Matrix Trilogy, James McTeague. Still, we can still feel their influence in what segments get special attention, the montages, and how we experience time and how everything is connected.
Putting this film together, with who was involved, who was cast, when it was filmed, where it was filmed.. there are so many connections and references that we don’t even get into all of it. Despite being a little sillier in some places, more digestible than something as heavy and poignant as Andor (which Austin HIGHLY recommends,) the film delivers some moments that may never be forgot.
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