The Reel Critic

Author: JOE BERGAN

Every film critic in America spent much of the past month scrutinizing the Wachowski Brothers' newest film, "V for Vendetta." Although the images of "terrorism" within the film are striking, what really matters is it's fresh take on the superhero genre. The story follows V (Hugo Weaving), the possibly crazy government experiment with a penchant for bomb making.

His attempt to oust the fascists who have destroyed democracy in the name of a war on terror and Islam raises several controversial issues. It is clear that Alan Moore - the original author of the graphic novel on which the movie is based - will not be treated to a Crawford Ranch barbeque and quail hunt anytime soon. Evey (Natalie Portman), V's beautiful sidekick, haunted by her parents' past and the tyrannical world which surrounds her, spends most of the film deciding whether to turn against or to join V in his quest for justice.

Unlike other comic book action movies, this film proudly relies not only on the heroics of the villain or computer graphics (think the writers' famous Matrix Trilogy), but more on the complexities of society and the validation of V in the viewer's eyes. It seems that most of the movie is spent trying to convince the audience that blowing up a building in this post-9/11 world is something that an American audience can commiserate with. Like Ang Lee's "Brokeback Mountain" that exposes the homosexuality of all "buddy" movies, "V for Vendetta" brings to light the provocative question haunting all Superhero movies: "Isn't a superhero just a crazed lunatic fighting other crazed lunatics?" Batman is a rich man who dresses like a bat…think about it.

This film gives you Timothy McVey and allows you to sympathize with him. Unlike the crazed Oklahoma City bomber, however, V is innovative because his motives are not selfish, but altruistic. Most of the time, in films such as "Batman" or "Spiderman," the superhero just uses his powers to "get the girl." V has no interest in the flesh, a fact he reiterates continually, and as the film continues, it is uncertain whether V cares for Evey at all, let alone if he wants to bed her.

V's mask is also a point of comment. A messed up superhero should actually appear messed up. Not George Clooney or Val Kilmer - guys with square jaws and hair combed just so. V wears a mask to hide his face, further heightening his selflessness, powerful convictions and heavy sense of purpose.

The style of the film is also great - the audience learns nothing much more of the society than through television screens, therefore amplifying the sense of a world dominated by an all-powerful media industry. In addition, the costuming and set evoke images of Nazi Germany - not just some futuristic city - providing a clear message that history will repeat itself.

This film subtly reverses the norms of your average superhero movie. Action seekers and card-carrying members of the ACLU alike will enjoy it. It is a great movie to get your season's worth of action, but you will also leave the theatre wishing that you read a little more Faust. If you have a spare rainy Saturday and the Hirschfield series movie is just a little too pretentious this week, you need not worry. "V for Vendetta" is coming soon to Middlebury, and it gives a healthy dose of intellect and adventure.