The Verge is a place where you can consider the future. So are the movies. In the future of tomorrow, we revisit a film about the future and consider the things that tell us about today, tomorrow and tomorrow.
film: the revenge (2006) directed by James McText
Future: In the revenge, Has gone wrong very quickly, and does not think there is much to be done about it. The film is set in 2020, and London is now under the authoritarian rule of fascist High Chancellor Sutler (John Hurt), the leader of the Nazi-looking Norsefire party.
The real-world parallels are alarming by 2020: “The St. Mary’s virus has spread an epidemic on the United States (which is not really a factor in the film’s London-centric plot) and the world, sending it on the path of economic ruin and civil war. The Norseff Party, which was riding a wave of neo-imperialist support, harbors homosexual citizens, who follow any religion other than the state-sanctioned church, and is supported by state-run media. Surveillance is almost accidental , Government vans regularly sweep the streets to listen to citizens.
This is the world in which we meet Ewe Hammond (Natalie Portman), an unpaid employee of the British television network. One night, he is threatened with sexual harassment by the secret police and is later rescued by a supernatural terrorist V (Hugo Weaving) in a boy fox mask. Like Guy Fox, V plans to blow up Parliament and assassinate several members of the government responsible for the Norsefire takeover and, it turns out, his own creation. Before the film ends we get to know if he is successful, but not before the citizens of London are even inspired to donate their masks and take to the streets.
past tense: the revenge, While it has no meaning as a comic by Alan Moore and David Lloyd, it is a film about a terrorist unexpectedly. In March 2006, it felt radical for a blockbuster film Wachowski wrote after his first major project Matrix Trilogy. The reviewers were fascinated by this.
“The smartest aspect of the film is the way it turns a terrorist into a crusade while remaining politically correct.” Guardian Film critic Philip French wrote in his review. “What it doesn’t manage is to create a credible future or avoid pomposity.”
“By all rights, this should be the worst time to release the revengeA film with – there’s no really polite word for it – a terrorist hero saying things like ‘violence can be used for good’, and ‘sometimes blowing up a building can change the world’ Is prone to AV Club. “So why does it? the revenge Play as so much fun?
With only five years removed from 9/11 and all the years that the American War on Terror took, a blockbuster film made a terrorist feel radical in a way that was almost immediately under arrest. The film softened this very clear edge with an over allowance 1984, It feels as much a tribute to George Orwell as it has to Lloyd and Moore.
Alan Moore, author of the film on which the comic is based, refused to give his name to any artist in or promoting the film. (Moore has made it clear which items he uses anyone Adaptation of his work from theory, regardless of quality.) The purist would object to the film declaring that the source material would reduce Thatcherite England’s very specific response to a metaphor of Bush-era America (in a story where America was special Bypassed) or Rasta replaced the film V as more of a dashing hero than a dying extremist. But for the time being one way to present all these points effectively was moot. The film now comes very differently.
Present: In retrospect, both strengths and weaknesses the revenge It lacks specificity. Its Orwellian aesthetics give it a kind of timeless veneer, and its arguments about fascism and the creeping death of freedom are old ones that whenever in power are a new attempt to undermine democracy.
The film’s most enduring symbol is a mask, adopted as a sign of real-world protest by the hacktivist group Anonymous in early 2010 when Occupy Wall Street was the most widely known activist movement in the United States. Unfortunately, the meaning of a serious man fox mask reflects an anonymous solidarity on something important about institutional oppression: it does not apply equally.
In 2020, attacks on democracy are shameless and blunt, and we are well aware of the pain that subtlety is not an identity of authoritarianism’s reach. In fact, critic Scott Meslow wrote in 2018, while the revenge It has more bite than when released, now you can say that it doesn’t go very far.
“It envisions a universe in which the single shooting death of an innocent little girl can inspire an entire society to stand up against a military police force,” Meslow writes. “It envisages resistance from powerful but princely members of that political movement, in part to an anti-democracy political movement. A modern adaptation can also dismiss all those plot points as optimistic. “
the revenge Not particularly concerned with the details – the creep concession to fascists is admitted in a foggy cascade, and resistance is sparked by a single dramatic act. The film’s universe is small; The only perspective outside of Eve is Finch (Stephen Ree), a Scotland Yard inspector who is on Wee’s path and discovers that the government engineered the crisis that seized its power. Through Finch, we tie it all together, and in the film’s best touch, it is all depicted in a dramatic montage: corruption, domination, and revolution depicting events as the current side of the film. There is an intercut with the scenes that are going to happen. The film finale 30 minutes.
It is very affecting, but how much it shines work This is to protect democracy – how many people do you need to stand with you in protest, really like the rule of fascism as long as the fascists combine with them, institutions for democracy are not made but normal condition, And how the people driving them will always choose the former over the latter.