V For Vendetta
Mar. 26th, 2006 10:41 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tabular_rasaV For Vendetta=Awesome Movie!
I was quite hopeful; it looked to be the type that would either be immensely bad or really, really good. Thankfully, I felt it was the latter; it nodded to (mostly) 1984 and Citizen Kane and Les Miserables and "Witch Week" from that book series by Diana Wynne Jones (author of Howl's Moving Castle, lol . . . ) that I really liked (ahh, so much upon Guy Fawkes, and the possibility of other worlds arising had he/had he not blown up the Parliament buildings, and the new worlds arising when his mistake was rectified) even The Wall, and . . . The Recruit (lol, the fake prison, lol . . . ) . . . and even my own novel-in-progress-which-hopefully-will-be-to-be. The politics reeked from its every pore, lol: Nazi Germany (of course; that=evil, nowadays, lol . . . ), Fascist Italy, totalitarian Russia/China, and, ha ha, the modern United States (kill the terrorists! religion! woot! Lol . . . ).
There was a heavy theme of love of people versus love of ideas which hit home hard to me, since that's what I'm dealing with in my own story, and I've always loved that plotline. There was a lot of great monologuing for V; his must have been an interesting acting experience, wearing a mask and therefore having no facial expressions, and yet giving awesome little speeches and one-liners. Quotable material is always fun (ha ha, Keith is testament to that, changing his away message repeatedly to one-liners from it, lol . . . ), especially when it has a political/ideological nod ^_^
Also, fear was interesting in there. V had to like "break" Evey of her fear; she was self-proclaimed in her fear, after all-- yet self-proclamation is the first on the road to recovery, lol . . . Yet I wonder at times if one really even needs that. For instance, I don't know that I would need to be tortured to speak like Valerie (see below); plotting out my death and funeral (as I so often have, in contrast to my wedding and such, lol . . . ), I always arrange things rather somewhat like that. The "I love you; I love you, every one and everyone" sort of thing . . . Also, maybe this is just me being vain and thinking I'm more self-righteous than I am, but I'd certainly rather die for some things. I'm actually surprisingly loose with my life; there's a whole hell of a lot I'd lay it down for, if it came to that-- particularly ideas, a lot like V.
(So, maybe, someday, an Evey will come along, and I'll actually find a person I want to lay it all down for? Lol . . . nah, he stuck to the idea thing anyway :-P that's probably what I would do . . . )
I definitely cried at parts, particularly when it had the letter from that Valerie girl who was the inmate in the cell next to V, the letter passed on to Evey in her own (albeit fake) cell. I swear to God, her ending to that letter was exactly the sort of thing I would write, if I were in her position: "I don't know who you are; I've never spoken with you, laughed with you, cried with you-- I don't even know your name-- but know that I love you. I am part of you, and I love you." The bit about still having "an inch of you, that they can never take away," the sort of ideal rectification of love and idea-- GAAAAAA got me bawling . . .
I also thought it was sad/sort of beautiful when he killed that one girl who was sort of Nazi-doctor-ish, yet she also didn't quite know what she was doing, when she was so apologetic in the end, and he was so nice about it . . . it seemed so weird for revenge, but I liked it better than the average revenge . . . I'm still more like Evey, I guess, in that it irks me that The Count of Monte Cristo "is more about the revenge than the love"-- but, then again, I definitely understand the idea of an idea being greater than love-- revenge is just not my idea, but something else, like freedom and liberty and such-- other pet loves of V-- would so definitely . . .
V was cool. Yes, he killed people, and that irked me, just as it irked Evey in the beginning. Yet, I feel, I, like Evey, definitely warmed up to him in the end. He was so suave and well-spoken, and had the greatest intentions, after all, lol . . .
The ending was cheesy, but I liked it. They needed to be clearer, though; everyone was like "WTF that was her dad? OHHHHHHHHHH . . . wait, his name was Edmond Dontesse? Wait-- OHHHHHHHHHHHHH . . . " lol . . .
I did laugh at every part where they played the 1812 Overture or Beethoven's 5th Symphony (V, of course, lol . . . ALSO, perhaps a nod to Nazi Germany, where the same symphony was banned as the United States played it for the announciation of the winnings of their battles against Germany during WWII, as V, for 5, was for "Victory," to them? How V-like, lol . . . ). I just really can't listen to songs that I know in movies; I get too distracted by knowing them, lol . . . it even happens in Harry Potter, with familiar themes, and Lord of the Rings and Mulan and such since I've played them or purchased their soundtracks, lol . . .
. . . but, yes, definitely laughed as they blew up Parliament to the dulcet strains of the 1812 Overture.
I was quite hopeful; it looked to be the type that would either be immensely bad or really, really good. Thankfully, I felt it was the latter; it nodded to (mostly) 1984 and Citizen Kane and Les Miserables and "Witch Week" from that book series by Diana Wynne Jones (author of Howl's Moving Castle, lol . . . ) that I really liked (ahh, so much upon Guy Fawkes, and the possibility of other worlds arising had he/had he not blown up the Parliament buildings, and the new worlds arising when his mistake was rectified) even The Wall, and . . . The Recruit (lol, the fake prison, lol . . . ) . . . and even my own novel-in-progress-which-hopefully-will-be-to-be. The politics reeked from its every pore, lol: Nazi Germany (of course; that=evil, nowadays, lol . . . ), Fascist Italy, totalitarian Russia/China, and, ha ha, the modern United States (kill the terrorists! religion! woot! Lol . . . ).
There was a heavy theme of love of people versus love of ideas which hit home hard to me, since that's what I'm dealing with in my own story, and I've always loved that plotline. There was a lot of great monologuing for V; his must have been an interesting acting experience, wearing a mask and therefore having no facial expressions, and yet giving awesome little speeches and one-liners. Quotable material is always fun (ha ha, Keith is testament to that, changing his away message repeatedly to one-liners from it, lol . . . ), especially when it has a political/ideological nod ^_^
Also, fear was interesting in there. V had to like "break" Evey of her fear; she was self-proclaimed in her fear, after all-- yet self-proclamation is the first on the road to recovery, lol . . . Yet I wonder at times if one really even needs that. For instance, I don't know that I would need to be tortured to speak like Valerie (see below); plotting out my death and funeral (as I so often have, in contrast to my wedding and such, lol . . . ), I always arrange things rather somewhat like that. The "I love you; I love you, every one and everyone" sort of thing . . . Also, maybe this is just me being vain and thinking I'm more self-righteous than I am, but I'd certainly rather die for some things. I'm actually surprisingly loose with my life; there's a whole hell of a lot I'd lay it down for, if it came to that-- particularly ideas, a lot like V.
(So, maybe, someday, an Evey will come along, and I'll actually find a person I want to lay it all down for? Lol . . . nah, he stuck to the idea thing anyway :-P that's probably what I would do . . . )
I definitely cried at parts, particularly when it had the letter from that Valerie girl who was the inmate in the cell next to V, the letter passed on to Evey in her own (albeit fake) cell. I swear to God, her ending to that letter was exactly the sort of thing I would write, if I were in her position: "I don't know who you are; I've never spoken with you, laughed with you, cried with you-- I don't even know your name-- but know that I love you. I am part of you, and I love you." The bit about still having "an inch of you, that they can never take away," the sort of ideal rectification of love and idea-- GAAAAAA got me bawling . . .
I also thought it was sad/sort of beautiful when he killed that one girl who was sort of Nazi-doctor-ish, yet she also didn't quite know what she was doing, when she was so apologetic in the end, and he was so nice about it . . . it seemed so weird for revenge, but I liked it better than the average revenge . . . I'm still more like Evey, I guess, in that it irks me that The Count of Monte Cristo "is more about the revenge than the love"-- but, then again, I definitely understand the idea of an idea being greater than love-- revenge is just not my idea, but something else, like freedom and liberty and such-- other pet loves of V-- would so definitely . . .
V was cool. Yes, he killed people, and that irked me, just as it irked Evey in the beginning. Yet, I feel, I, like Evey, definitely warmed up to him in the end. He was so suave and well-spoken, and had the greatest intentions, after all, lol . . .
The ending was cheesy, but I liked it. They needed to be clearer, though; everyone was like "WTF that was her dad? OHHHHHHHHHH . . . wait, his name was Edmond Dontesse? Wait-- OHHHHHHHHHHHHH . . . " lol . . .
I did laugh at every part where they played the 1812 Overture or Beethoven's 5th Symphony (V, of course, lol . . . ALSO, perhaps a nod to Nazi Germany, where the same symphony was banned as the United States played it for the announciation of the winnings of their battles against Germany during WWII, as V, for 5, was for "Victory," to them? How V-like, lol . . . ). I just really can't listen to songs that I know in movies; I get too distracted by knowing them, lol . . . it even happens in Harry Potter, with familiar themes, and Lord of the Rings and Mulan and such since I've played them or purchased their soundtracks, lol . . .
. . . but, yes, definitely laughed as they blew up Parliament to the dulcet strains of the 1812 Overture.
