V for Vendetta.

Both a dark vision of a possible future and a disturbing comment on the present, V for Vendetta pulls few punches and makes few missteps in its portrayal of a country crushed under the heel of a totalitarian government ruling its population through the manipulation of fear.

We are presented with a frighteningly updated version of 1984, complete with giant wallscreens and the screaming invective of ‘Big Brother’ rather ironically played by John Hurt who reverses his role of Winston Smith in the last cinematic version of Orwell’s defining work. After a series of largely manufactured disasters and terrorist atrocities Britain ‘prevails’ through the fear engendered by the ‘fingermen’ who prowl the streets after curfew arresting, beating and ‘disappearing’ anyone who opposes the New Order. During one such ‘arrest’ we meet both Evey (played superbly by Natalie Portman back on form – and how – after the risible Starwars pre-trilogy) and the enigmatic V (played by the outstanding Hugo Weaving acting behind a mask throughout the entire performance) who rescues her from almost certain rape.

V introduces himself and his plan to change everything. For that night is November 5th – the anniversary of the long forgotten Gunpowder Plot when Guy Fawkes failed to blow up the Houses of Parliament in the hope of freeing his fellow Catholics from religious oppression. V, dressed as his hero Guy, hopes to succeed where Fawkes failed destroying Parliament and freeing England from its present tyranny. To demonstrate both his resolve and his abilities he destroys the Old Bailey which was once a place of justice and is now an arm of the Secret Police. But this is not simply an act of terrorism. This is a symbolic act, complete with music and fireworks. It is also a warning and a promise. V states that on the next 5th November he will return to destroy the ruling Government itself.

So begins a cat and mouse game between V and the police as they attempt to uncover his masked identity. Cleverly this also introduces the audience into the murky history of the ‘Reconstruction’ when order is ruthlessly restored after a terrorist attack on London. Caught up in the chaos are Evey’s parents who are arrested after a protest and ‘disappeared’ leaving Evey to grow up in a government facility. The audience also learn, piece by piece that V had been resident in a Government facility of a much darker type where biological experiments where performed to produce the perfect weapon. During the investigation Inspector Finch (understatedly played by Stephen Rea) discovers to his growing horror that the suspected Islamic terrorists may not have been responsible for the outrage after all. Starting out as a reluctant arm of State security, Rea moves ever closer to understanding and sympathising with V’s need for vengeance against the people and the system that took his future from him.

It shouldn’t surprise anyone that this is a very political film. Nor should it be surprising that it says much regarding how both the US and the UK have responded to the attack on 9/11. Both of those Governments have used fear and the manipulation of fear in an attempt to paralyse their populations into unquestioning obedience. But if one thing is certain – and made blindingly clear by this movie - it is that (with apologies to Ben Franklin) if we give up our freedoms for the illusory promise of security then we will have neither freedom nor security. This film is first and foremost a warning that if we let it happen we can sleepwalk into tyranny despite the best intentions of all concerned. Our governments should not rely on their ability to spin tales of fear to gain our compliance. (As V rightly observed “The people should not be afraid of their Governments. Governments should be afraid of their people”). Nor should we abrogate our responsibilities in the name of safety and security. Though it is true that we live in a dangerous world it is also true that it has always been thus. Nothing much has changed despite what some would have you believe.

If you haven’t seen this film yet – Go see it. Now.