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V per Vendetta (2005)

Film d'azione statunitense.

• Ricorda per sempre il 5 novembre, il giorno della congiura delle polveri contro il parlamento. Non vedo perché di questo complotto, nel tempo il ricordo andrebbe interrotto. (V)
• Il nostro compito è riferire le notizie, non fabbricarle. Quello è compito del governo. (Dascombe)
• Non vi sono certezze, solo opportunità. (V)
• I popoli non dovrebbero avere paura dei propri governi, sono i governi che dovrebbero aver paura dei popoli. (V)
• Spero che chiunque tu sia, almeno tu, possa fuggire da questo posto; spero che il mondo cambi e le cose vadano meglio ma quello che spero più di ogni altra cosa è che tu capisca cosa intendo quando dico che anche se non ti conosco, anche se non ti conoscerò mai, anche se non riderò e non piangerò con te, e non ti bacerò, mai... io ti amo. Dal più profondo del cuore... Io ti amo. (Valerie)
• Una rivoluzione senza un ballo è una rivoluzione che non vale la pena di fare. (V)
• Sotto questa maschera non c'è solo carne, sotto questa maschera c'è una idea, Creedy... E le idee sono a prova di proiettile. (V)
• Questo paese ha bisogno di qualcosa di più di un palazzo, ha bisogno di speranza. (Evey)

Citazioni sul film

• Il futuro come non lo avete mai visto dai creatori della trilogia di Matrix. (frase di lancio)
• Un adattamento toglie sempre qualcosa all'originale, ma è riuscito quando, come in questo caso, elabora ed aggiunge. Ed è davvero una bella idea che la gente arrivi ad usare la maschera di V, dopo aver ritrovato il coraggio di opporsi a un potere ingiusto. (David Lloyd)
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Altre citazioni su V per Vendetta

Citazioni da tradurre. Sarò molto grato a chiunque vorrà darmi una mano.

• A fast-moving dandy, he hides his face and body behind a black cape and a smiling Guy Fawkes mask; he keeps everyone at bay with a teasing verbal dexterity that hovers between the awesome and the tedious. When he saves a young woman in the street, Evey (Natalie Portman), from being assaulted by government thugs, he treats her to a rapid alliterative patter ("A vendetta held as a votive, not in vain"), and Portman does a disbelieving double-take—the movie’s only funny moment. V is into Shakespeare, too, and, like a windy ham actor in his dotage, quotes “Macbeth” at every chance. Acting behind the mask, Weaving (Agent Smith in the "Matrix" series) seems to be doing an imitation of James Mason in his most hyper-civilized and elocutionary roles, though Mason was acidly witty, and Weaving is merely formal and condescending. Until he fights, that is: whirling around, V unleashes knives and daggers, slicing off hands and slashing throats in furious ballets of violent revenge. (David Denby)
• A movie of multitudinous comic book tropes, V for Vendetta is predicated on secret identities, floridly alliterative dialogue, and gnomic bromides: "There are no coincidences, only the illusion of coincidence," V grandly explains. In other words, it's all about the plot. (J. Hoberman)
• All the free-floating dread and dress-up games aren't bad for about an hour. The second half, like so many second halves of movies taken from graphic novels -- everything from "Road to Perdition" to "Sin City" -- grinds on, growing increasingly flabby and yakky. By the big finish, the queasy feeling in your stomach tells you that you haven't been convincingly swept into the film's call to arms. (Michael Phillips)
• As they demonstrated in The Matrix and its ponderous sequels, the Wachowskis gravitate to messiahs who strive to overthrow repressive social orders, but V for Vendetta never bogs itself down in religious allegory or woo-woo mysticism. It's a pop hodgepodge. V is part Zorro, part Cyrano, and part Phantom of the Opera, with a touch of Tim Burton's Batman. His mask is modeled on Guy Fawkes, executed in 1606 for attempting to dynamite the English Parliament, and that smiling papier-mâché visage seems remarkably alive—especially when it's underscored by Weaving's rolling baritone. (David Edelstein)
• As V in "V for Vendetta," Hugo Weaving is a stagy voice emanating from a hole in the polyurethane phiz clamped over his real mug. As a revolutionary dedicated to tearing down the state, he looks like a guy in a comic book. (Wait, he was a guy in a comic book.) That almost completely ruins the audience's ability to connect with his lonely mission, and the filmmakers know it, so they front-load the regime he despises to make up in hatred what they can't create in empathy. (Stephen Hunter)
• Brutally gorgeous and seething with incendiary images, the Wachowski brothers' monumental call to revolution, based on Alan Moore's gloomy graphic novel about a masked madman who restores anarchy to the U.K., is a vivid but muddled pulp political parable. (Maitland McDonagh)
• But even without the nudge-nudge parallels, V for Vendetta's Pop Art mixture of revolutionary symbols from history, literature, and painting feels gladdeningly subversive. (David Edelstein)
• Call me a neocon -- that'd be a first -- but this film is in fact about a glam-terrorist who believes in better government through the demolition of landmark buildings. It's only a movie. But would "V for Vendetta" stand a box office chance today if it were set in America, not England, and the U.S. Capitol were blowing up instead of Parliament? Unlikely. (Michael Phillips)
• Even while the movie is set in a post-apocalyptic day after tomorrow -- America, we're told, has fallen into chaos after the war it started enveloped the world -- its concerns are of the moment. Specifically: What rights might a terrified populace give up in the name of promised safety, and how might a government wield that fear to its advantage? Some will praise or condemn the movie's message as an attack on Bush-ism run amok (Alan Moore was responding to Margaret Thatcher, actually), but that's too easy. The real villain is a cowed and lazy citizenry. Meaning all of us. Disappointingly, "V for Vendetta" makes this point early and moves on, at some point turning as shallow as what it protests against. (Let's pause to remember, for one thing, that Fawkes wanted to blow up Parliament so he could install a Catholic king on the throne. Freedom for the masses wasn't high on his to-do list.) (Ty Burr)
• First-time director James McTeigue tells the story [...] not from V's point of view, but from that of Evey Hammond, played by the eternally underwhelming American actress Natalie Portman, behind a whisper of a Brit accent that comes and goes at random. Forlorn and mundane throughout, she's set upon in the beginning by a trio of thug/cop/rapists, when V steps out of the darkness and with a samurai's grace, magically disarms and discombobulates them. (Stephen Hunter)
• If the h-for-hype "V for Vendetta" connects with a wide American audience, then something truly has shifted in the homeland-in-security pop landscape of the early 21st Century. It means we're ready for a cultured, sophisticated, man-about-town terrorist who espouses the belief that "blowing up a building can change the world." Finally, a film to unite movie-mad members of Al Qaeda with your neighbor's kid, the one with the crush on Natalie Portman. (Michael Phillips)
• If The Matrix betrayed the Wachowskis' acquaintance with Jean Baudrillard, V for Vendetta suggests they've been perusing political philosopher Antonio Negri—both the old ultra-left Negri of Domination and Sabotage and the new Michael Hardt–collaborating Negri of Empire and Multitude. (The latter book even name-dropped The Matrix as an example of how Empire feeds on the creative "social productivity" of the ruled.) V's dictum that "people shouldn't be afraid of their government, the government should be afraid of its people"—is a Cracker Jack box restatement of Negri and Hardt's notion of democracy for all. And the theorists would surely approve of V as the antithesis of a Leninist revolutionary elite. This hero not only has no name but also no actual personality. (Why hire Weaving? The role could have been played by a computer program.) At a key moment in V for Vendetta, the Negri-Hardt multitude—mysteriously networked and absurdly masked like their faceless non-leader—takes to the streets and waits expectantly. Their patience is rewarded by a superbly irresponsible finale that conflates the "1812 Overture," the Rolling Stones, Malcolm X, and Gloria Steinem. Absorbing even in its incoherence,V for Vendetta manages to make an old popular mythology new. Impossible not to break into a grin: It's the thought that counts. (J. Hoberman)
• If Zorro had gone to terrorist camp, taken courses in English elocution, assumed a penchant for zippy alliteration (a veritable "vichyssoise of verbiage"), and moved to a cavernous tomb decorated with pre-Raphaelite art and movie posters, well, you'd have V - the masked marauder of the smart, entertaining V for Vendetta. (Steven Rea)
• In its more meditative (or, one could argue, pretentious) moments, V for Vendetta poses the question: Is terrorism ever justified? Is blowing up buildings in the name of freedom a good thing? What would George Bush make of all this? Or George Washington? V for Vendetta gets hurried, and muddied, toward the end, but Portman, with her shaven head and her (pretty good) English accent, is never less than compelling. Weaving, his face concealed, uses his voice and body to powerful effect, and some fine Brits (Stephen Fry, Sinead Cusack, Tim Pigott-Smith) add heft to the comic-book scenario. (Steven Rea)
• It's true that one man's terrorist is another man's freedom fighter, but, by sticking to the blowing-up-Parliament template, the Wachowskis have stumbled into celebrating an attack against an icon of liberal democracy. No one's questioning the filmmakers' right to do any damn fool thing they want, but "Vendetta" doesn't parse. Who might it appeal to? "Matrix" lovers, certainly. And the movie's sullen, chain-clanking atmosphere connects with punk, Goth, grunge, and all the doomy tones of white teen rock for the past three decades. For aging kids stoned on pop rapture, it could be a trip. And for people driven mad by the ineptitude and folly of the Bush Administration this film may seem like a brazen romp. Only the West could have made a movie in which blowing up civic temples is a "provocative" media statement. The country "doesn’t need a building," V says. "It needs an idea." Yes, but "Vendetta" doesn't have any ideas, except for a misbegotten belief in cleansing acts of violence. How strangely doth pop make its murderous way, as V might say. The quarter-century-old disgruntled fantasies of two English comic-book artists, amplified by a powerful movie company, and ambushed by history, wind up yielding a disastrous muddle. (David Denby)
• Made mostly on sound stages and computers, with 3-D models doubling for monuments, the film looks and sounds as canned as a Buck Rogers serial, though this weighs in less like a conscious aesthetic strategy than a function of poor technique. Mr. McTeigue, who probably received some guidance from the Wachowskis (they also served as producers), never manages to make this Goth dystopia pop. Like the last two installments of the "Matrix" cycle, this film sags when it should zip, weighted down with self-importance and some dubious thinking. (Manohla Dargis)
• Moore had his name removed from the film's credits, but it's not a flat-out disaster like the adaptation of his LLeague of Extraordinary Gentlemen (2003). It's just simplistic and entangled in the Wachowskis' efforts to weave together current world events and attitudes firmly rooted in English discontents of the late 1970s. (Maitland McDonagh)
• Mr. Moore's pretensions to seriousness may be seriously pretentious, but he seeks to elevate the level of conversation that has been inevitably lowered by the screen adaptations of his work. "V for Vendetta" is the worst offender in this regard, largely because the Wachowskis come equipped with their own fancy reading list and set of narrative and ideological imperatives. (Manohla Dargis)
• One of the more interesting things about Mr. Moore's comic, along with V's contradictions and cartoon dialectics ("anarchy wears two faces," V intones), is how many different characters take possession of the story at different times. The screenplay, by contrast, essentially carves the plot into two parallel narrative strands — V and Evey occupy one, the fascists and their henchmen the other — that eventually twist together as predictably as in any blockbuster blowout. (Manohla Dargis)
• Regardless of who did what, the movie's a handsome piece of work, dramatically powerful even when it backs into silliness. The strongest sequences are lifted almost intact from the comic: the imprisonment and torture that harden Evey while freeing her soul, a flashback to the sad story of Valerie Banks (Natasha Wightman), movie star and victim of the state. (Ty Burr)
• Some details of the musty English dystopia may seem familiar to moviegoers old enough to remember Terry Gilliam's "Brazil." Still, the movie is pitched shrewdly to young audiences, what with its heroine, Evey, in constant jeopardy, and a hero who turns out to be tortured, horribly mutilated -- Darth Vader with a smirky if not quite smiley face -- and conflicted in the bargain, since his ostensibly principled terrorism is tainted with a mad lust for revenge. (Joe Morgenstern)
• [...] the masked hero calls himself V, models himself on the 17th-century political bomber Guy Fawkes, and says that words will always retain their power. He certainly uses them with verve -- especially v-words, as in his devotion to "vindicating the vigilant and the virtuous." Eventually this literary veneer devolves into vexatious volleys of cultural ventriloquism, or, if you will, a vichyssoise of vapid verbiage. But images have power, too, and several sequences in this film are powerful indeed, as in the apocalyptic fulfillment of the Gunpowder Plot, Fawkes's failed attempt to blow up the Houses of Parliament. "V for Vendetta" is a veritable gallery of forceful images, and provocative notions, recycled from such sources as "The Phantom of the Opera," "The Mark of Zorro," "1984" and "A Clockwork Orange." It's also a sententious piece of pop pap that celebrates terrorism as a necessary evil, and peddles anarchy in a user-friendly package. (Joe Morgenstern)
• The movie's heart, a mechanical pump connected to a reservoir of adrenalin, throbs for the smash finish in which the biggest bomb goes off, and the Houses of Parliament come tumbling down, along with Big Ben, a frequent casualty in disaster movies. (Joe Morgenstern)
• The problem is that V for Vendetta borrows from so many sources, Creature from the Black Lagoon to real-life photos of Abu Ghraib, that even the filmmakers can't keep them all straight. By the movie's midpoint, the Wachowski brothers' screenplay has gotten so bogged down in back story that it takes 40 minutes for director James McTiegue to get back to the explosions that his 16-year-old target audience assumes will solve everything. (Bob Mondello)
• The relationship that ensues is a tricky one: part Stockholm syndrome, part Beauty and the Beast (there's a reason beyond mere disguise for V's porcelain-like visage), part freedom-fighting confreres, part couch potatoes. (A wonderful scene: the two curled up in V's Shadow Gallery lair watching a video of Robert Donat's The Count of Monte Cristo.) (Steven Rea)
• The Wachowskis, like Tolkien, regard all of culture as a soup to be stirred and flavored to their taste. At a time when too many entertainers provide chicken soup for the soul, they deliver a chowder that spikes your palette, rattles your teeth and sticks to your ribs. (Michael Sragow)
• They alternately streamline, mainstream and embellish elements of the original story while transferring its reference points from Thatcherite England to a world that drifted deeper into villainy and chaos with the dragging-on of the Iraq War and the downfall of America. The Wachowskis' enemies are fear-mongering forces of repression. Their champions are men and women who've learned, like Kris Kristofferson, that "freedom's just another word for nothin' left to lose. The filmmakers' goal may be nothing more (or less) profound than getting youthful audiences to dream wild. But that may be the essential lure of comic books and their more pretentious offspring, graphic novels, and their typically imperfect spinoffs, comic-book movies. Despite their narrative wobbles along the way, the Wachowskis and company hit their target through flamboyant and inventive imagery rather than the usual overpowering, overdone special effects. This movie melds the glamour of old-fashioned swashbucklers, gothic fables and Monte Cristo-like revenge fantasies with punkish grunge and genocidal panics. It's for viewers who can savor the frisson of a painted smile glinting in the shadows from a fright mask and value a nightmare vision of English-speaking concentration camps. (Michael Sragow)
• "V for Vendetta", a dunderheaded pop fantasia that celebrates terrorism and destruction, is perhaps the ultimate example of how a project with modest origins becomes a media monster. (David Denby)
• [...] V for Vendetta is a most provocative piece of pulp fiction. You can bet there won't be many other movies at the multiplex extolling anarchist terror. (J. Hoberman)
• "V for Vendetta" is a piece of pulp claptrap; it has no insights whatsoever into totalitarian psychology and always settles for the cheesiest kinds of demagoguery and harangue as its emblems of evil. They say they want a revolution? Then give us a revolution, one that's believable, frightening, heroic, coherent and not a teenagers' freaky power trip. (Stephen Hunter)
• V for Vendetta is otherwise pretty black-and-white—maybe too white in the case of Evey, a colorless ingenue who spends much of the picture lolling around V's underground lair with its vintage jukebox and works of "forbidden" art. Evey might seem less of a goody two-shoes if she'd begun—as in the graphic novel—by turning tricks for money; and her relationship with another TV host, a melancholy teddy bear (Stephen Fry), is yawningly platonic. After Evey's head is shaved and she endures a marathon torture session, we expect great things. It's a lapse in the screenwriting that her new fearlessness is barely tested; she's a Joan of Arc who never fights. But Portman's watchfulness and unaffected beauty keep you entranced—and the movie from drifting into camp. Whatever else it is, V for Vendetta is not frivolous. The Wachowskis—one of whom is reportedly in the midst of a sex change—introduce a lesbian martyr to make a plaintive case for the right to be what one is. (David Edelstein)
• "V for Vendetta" qualifies as "an uncompromising vision of the future" only if monotony qualifies as a lack of compromise. (Michael Phillips)
• "V for Vendetta" says that terrorism's OK as long as no one really gets hurt, and to believe that, you need the wishful thinking of a child. Unfortunately, the world has grown up since Alan Moore set pen to paper. One wonders if the fan-boys ever will. (Ty Burr)
• V, the only character with sufficient magnetism to hold the narrative together, drops out for an extended period while Evey endures a hellish imprisonment that's contrived in more ways than one, and in the end awfully silly. Natalie Portman, as skillful as she is attractive, does have her moments -- it's affecting to see her hair being shaved, like Joan of Arc -- but wide-eyed Evey whimpers endlessly, and tediously, on her way to becoming a fearless woman who's able to love. And speaking of love, things go blooey instead of gooey whenever heroine and hero come close enough to touch; far from being sensual, let alone erotic, the movie proves to be not much fun at all. (Joe Morgenstern)
• Weaving (Agent Smith in the "Matrix" movies) uses physical agility to compensate for facial expression as the scarred, tormented V. The character is clearly an intellectual. But he's also a madman, and this boldly stylish movie lets the audience disapprove of him even as it's drawn to him, an unusual twist for a story that offers Philosophy Lite along with some stellar action. (Jami Bernard)
• When it comes to brewing up trouble (rather than sorting it out) they're nonpareil. They mold this anarchistic fantasy, set in the near future, around their elusive strengths. Call it long, call it choppy, but also call it spectacular. This film succeeds at sustaining a jet-black-comic setup for voluptuous slashings and explosions. (Michael Sragow)

Da controllare

• Owen Gleiberman: black-as-midnight Benny Hill sketch; a down-the-rabbit-hole flourish
• Shawn Anthony Levy: the occasional episode of exposition