Alternative future. In England, after a terrible epidemic of an unknown virus that plunged the country into chaos, a brutal dictatorship of the imperious chancellor is established with all the accompanying delights: a curfew, the omnipotence of party members over ordinary people and, of course, hundreds of secret informers. One night, a freedom fighter known as V appears in London and begins a guerrilla war against the regime in an attempt to reclaim the freedom taken from it. In this war, he attracts to his side a young woman whom he snatched from the clutches of the secret police.

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Alas, I have never read Alan Moore. Therefore, I cannot judge how adequate this film adaptation was to the original source. But with all the desire, changing many details, it is difficult to change the main idea of the original source. Moore basically dislikes screen versions of his works. Still, V for Vendetta’s illustrator David Lloyd was pleased with how the Wachowskis and fellow James McTeague got along with the spirit of the graphic novel. For it is impossible in principle to achieve a fully adequate film adaptation.

Somehow it is customary to consider comics as exceptional consumer goods, fast food for the bourgeoisie who are not able to read normal books. But hardly anyone will judge Russian literature by the “works” of Dontsova and Bushkov. Not all comic book authors follow Stan Lee and sculpt endless adventures of superheroes in leotards and raincoats, which can, perhaps, please a preschooler. Some are doing quite serious work. But if Frank Miller and Mike Mignola (Americans) simply prefer to experiment on loosened soil, then Alan Moore (Englishman), like a real counterculture, has always tried to invade the unplowed field of comics. If we talk about the most famous in wide circles of his works (and they are known in these circles primarily thanks to the cinema), then we can recall, for example, “From Hell”, which was a detective that offered an unexpected version of the story of Jack the Ripper. Or “The League of Outstanding Gentlemen”, in which famous literary characters acted as a single team (the film adaptation was called a failure by everyone and had little to do with comics). Or “V for Vendetta”, which has now found its film incarnation thanks to the Wachowski brothers, who consider themselves fans of Moore.

There is no point in retelling the plot thoroughly. In an alternative history, Great Britain today (or maybe not ours – it is difficult to understand the exact timing of the action in the film) is a fascist state ruled by Chancellor Adam Sutler. But, as always happens in such cases, underground revolutionaries appear, in our case one revolutionary. And his name is V.

For the entire film, we will never see the hero’s face. And this allows us to talk about the idea of a superhero turned inside out. All these Bat, Super, Spider, etc. Men have two hypostases. Human and heroic, hidden under a mask and a cloak. Let the old scoundrel Bill from the latest Tarantino movie rant about the uniqueness of Superman’s mythology – the fact that he is initially super doesn’t really make a difference. Here V is another matter. He, like the hero of Georg Ots, “always to be in a mask is destiny.” If he had a different hypostasis, it was long ago, before the events, which I will not say, so that there are no spoilers. He merged with the mask, the mask became it – and it is not for nothing that this is the mask of Guy Fawkes, who at the beginning of the 17th century tried to carry out one of the first terrorist attacks in history.

And V thus turned out to be the most interesting movie character I have seen this year. That Britain that we see in the film, at first glance, is not very much and resembles a state with a fascist system. Yes, wherever possible there is a photo of the Chancellor and a curfew is imposed, but it seems that demonstrative executions and sweeps are not carried out, and there is no strict censorship in the media. And that’s what an interesting thing turns out. I don’t know if the Wachowskis wanted it, or it happened by itself, but the parallel between what happened in “that Great Britain and what is happening in the world now (letÂ’s not poke a finger in specific countries) suggests itself. At the same time, I note that the comic came out back in the 80s of the last century.

Before the release of the tape, the interest of many was fueled by a very curious cast, and that really has something to say. V is played by Hugo Weaving. The one known to most as Agent Smith. On the one hand, it is not so difficult to constantly play in a mask – know yourself to utter a pretentious monologue, and you don’t have to use your face. With this approach, the hero, however, will look like a log that has not yet become Buratino. Therefore, on the other hand, you need to act out the whole role with voice and gestures. Since I could not hear the voice of the actor because of the dubbing, I had to be content with his plasticity. Although “had to is not the right word. I don’t know what the reason is, but V is more impressive than all the other characters played by very good actors. I want to say “bravo, Mr. Weaving.”

And Natalie Portman? Everyone praises her for her role as Ivy Hammond. “Mezmerizing Portman” – wrote one of the foreign critics. And I would be glad to agree with him, if … if not for “Proximity”. Natalie is certainly good, but to the class of acting that she gave out in the film Mike Nichols, she could not reach again.

Or John Hurt, the venerable English actor who agreed to play the ugly Chancellor Sutler. At first glance, it may seem that he is noticeably overplaying. But once you remember the archival footage of Senator McCarthy from the recent “Good Night and Good Luck” and everything will fall into place. All politicians are replaying their pretentious speeches. So Hurt was really good at capturing that moment.

And I must say about Stephen Fry. It seemed strange to invite this Englishman to such a film. However, after seeing the role that he plays, I realized that someone more suitable is difficult to find. For only Fry can portray the classic English freethinker with all his stiffness and mannerisms.

Here it is appropriate to recall humor, it is in the film, albeit in small doses, but always appropriate. Moreover, both in the form of a sketch show a la Benny Hill, which Dietrich arranged in his show, and situationally – many will certainly smile at the sight of V in an apron. You know, this greatly dilutes the general pretentious atmosphere.

For all that, the viewers will not be able to forget that the same people made the “Matrix”. The fighting scenes were shot competently and effectively, and the final thrashing on the knives, which the main character suits the bad guys, looks just so gorgeous.

What else is there to mention? The work of the operator is at the level, the music is very good, especially since Tchaikovsky sounds there. The visuals and picture are simply flawless.

The brothers and McTeague, who joined them, managed to make a luxurious decadent spectacle for almost every viewer, while devoid of the unhealthy aroma of blockbuster. The film gives everyone according to their needs. He should be forgiven except for a small touch of convention, which is inherent in almost every comic. But all the same, they managed to achieve what Cronenberg failed in “Justified Cruelty” – to make a film based on a comic strip in which depth would be felt. The movie that the Wachowskis were supposed to make after The Matrix. Then, you see, and his fees would have been greater, and the fees for sequels.

By the way, what is the main idea of “V for Vendetta”? Yes, very simple and uncomplicated, the classic “We are not slaves, slaves are not us.” The main thing is through what and how to submit it. And it is served here great.

In the end – no fools, a good film. Interesting and intelligent.

Info Blu-ray
Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1

Audio
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: Dolby Digital 2.0 (192kbps)
French: Dolby Digital 5.1 (448 kbps)
German: Dolby Digital 5.1 (448 kbps)
Italian: Dolby Digital 5.1 (448 kbps)
Spanish: Dolby Digital 5.1 (448 kbps)
Portuguese: Dolby Digital 5.1
Czech: Dolby Digital 5.1
Polish: Dolby Digital 5.1
Thai: Dolby Digital 5.1

Subtitles
English SDH, French, German, Italian, Portuguese, Spanish, Arabic, Cantonese, Czech, Danish, Dutch, Finnish, Korean, Mandarin (Traditional), Norwegian, Polish, Romanian, Swedish, Thai.