V For Vendetta Download Movies
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Tells the story of Evey Hammond and her unlikely but instrumental part in bringing down the fascist government that has taken control of a futuristic Great Britain. Saved from a life-and-death situation by a man in a Guy Fawkes mask who calls himself V, she learns a general summary of V's past and, after a time, decides to help him bring down those who committed the atrocities that led to Britain being in the shape that it is in.
Set against the futuristic landscape of totalitarian Britain, V For Vendetta tells the story of a mild-mannered young woman named Evey who is rescued from a life-and-death situation by a masked vigilante known only as "V." Incomparably charismatic and ferociously skilled in the art of combat and deception, V ignites a revolution when he detonates two London landmarks and takes over the government-controlled airwaves, urging his fellow citizens to rise up against tyranny and oppression. As Evey uncovers the truth about V's mysterious background, she also discovers the truth about herself - and emerges as his unlikely ally in the culmination of his plot to bring freedom and justice back to a society fraught with cruelty and corruption.
Watched #VforVendetta....
Very good indeed.... I didn't know about this DC comics character. He is very interesting indeed. There is something very different about this moVie. Like most Verified moVies based on comic chAracters, there is a lot suspense in the moVie. But what's Very Different Is thaT the watchers neVer det answer to some of the Volatile secrets.... The Acting and screenplaY is very good. We get to see A completely different look of Natalie Portman with heR head saved off.... There are some occasional unexpected twists and turns too and the ending is not something we expect in comic film. The movie is pretty motivational as well and questions our sense of morale....
Vi Veri Veniversum Vivus Vici....
#mustWatch....
Without plot summary, I believe that I should share that this movie contains a thematically complex plot and philosophy which should be regarded with the highest attention. The film is a beautiful tapestry which caters to those with a taste for the theatrical, and those with a hardcore love of modern film and cinematography. The dialogue is startlingly well organized and delivered, thanks to the skill of Hugo Weaving, and the film contains classic elements of dialogue and acting which may have been thrown by the wayside since the great films of the 50's and even into the 60's and 70's. The film is a great work which has something that everyone can enjoy and carry with them throughout their everyday lives.
Viewers expecting a thrill ride might be disappointed. V engages in a couple of satisfying crime-fighting set pieces, but the story is more occupied with mystery and intrigue. Happily, it almost is entirely free of the hollow pomposity that marred the Wachowskis' last two "Matrix" films.
However, Alan Moore, who wrote the graphic novel, would disagree with both of these. One of Alan Moore's problems with the film was that it painted "V" as a freedom fighter when he is in fact an anarchist. Anarchy is far more important to V's character than terrorism or freedom, but it is hardly even addressed in the film. There is of course still V's symbol, an upside down anarchy stamp with the horizontal line of the "A" missing. 2027 and 2028. About 1:30 into the film, the news anchor mentions the St. Mary's terrorist attacks "14 years ago." In the following scene, the detectives discuss two covert intelligence agents who suspiciously died "the day after" those attacks, and the computer screen reads their deceased dates as 06.05.14 (May 6th, 2014). So the film ostensibly is set from November 5th, 2027 to November 5th, 2028. Influenced by, certainly, as Alan Moore quite clearly states in the Afterword to the comic book. However, just because a work is similar in subject does not mean it is plagiarized or a "rip-off". Nineteen Eighty-Four was itself largely influenced by Yevgeny Zamyatin's We and, to a lesser extent, Jack London's The Iron Heel, and all dystopian novels ultimately stem from such classics as Thomas More's Utopia and Plato's Republic, which depict "ideal" societies that many people today would find oppressive. Nineteen Eighty-Four was also largely influenced by world events occurring at the time it was written (1948), and this is clearly true for V as well. Fundamentally the stories are actually quite dissimilar, as V for Vendetta tells the tale of a revolution planned, announced, anticipated and then carried out. In Nineteen Eighty-Four, there is no revolution. The rulers are never threatened and the status quo remains constant. There is a brief moment of recognition that a revolution would be beneficial for the masses, but before that thought is given a chance to grow it is swiftly snuffed out by a brutal and torturous form of systematic mind reconditioning. Not a direct attack, no. Art, as a medium, is often too subtle for such methods. It tends to run to the sort of scathing sarcasm and derision that undermines its target rather than attempting to assault them directly. On the other hand, the fact that we have asked the question demonstrates not only that the designed purpose of the film and its story is to enlighten the viewer while exposing cheap political demagoguery and social elitism for what they truly are, but that it succeeded in achieving that goal as well by actually stimulating the thinking processes which is ultimately the true goal of all art.
The original comic book was written by a Briton named Alan Moore and illustrated mostly by David Lloyd, starting in 1982 and published through 1988. It was aimed directly at Margaret Thatcher and Fascism. Alan Moore took umbrage with the film adaptation, making comments to the effect that the filmmakers did not have the courage to make an out-and-out attack on Bush, so they decided to adapt the story he'd written for their own purposes. In one scene, a protestor is carrying a sign which appears to have the word "BUSH" written on it. Plus, to account for the Doc Frankenstein comic series the Wachowskis created, they seem very liberal (i.e. socially democratic by European parlance), so the question isn't that far-fetched. Nevertheless, it does bear remembering that the script for this film was in development as far back as the mid-nineties, well before Bush took office.
The visual imagery of the Norsefire party, with its red and black flags that used an old, largely outmoded religious symbol as it chief device and the scenes of Sutler campaigning with fervent shouting and gesticulating seem clearly designed to evoke recollections of the Nazi regime rather than any modern political situation. The slight alteration of the Leader's name from the novel (originally Adam Susan rather than Sutler) also seems to be a deliberate attempt to reference Hitler. The party's practice of marginalizing and shipping ethnic and social minorities to detention camps is also a clear reference to the Third Reich, rather than modern America. Of course, certain details from modern times were included to make the story more identifiable to a modern audience, such as Prothero's similarity to various media pundits with staunch conservative viewpoints (or extreme derision toward the details of social "justice" ideology), as well as the brief reference to an avian flu outbreak and the general notion that the media exists to distract and worry the public rather than inform them of the facts. The Nazi references in this movie were far more obvious and deliberate than any disparagement of George W. Bush. This dish goes by various names, but the one used in the movie is called "Egg in a Basket," or, as Gordon calls it "Eggy in a Basket" (Alan Moore especially disliked this detail, finding it unauthentic). Butter both sides of a piece of thick bread. Cut a hole in the middle, using a cookie cutter or glass. Drop a small bit of butter into a skillet or frying pan on low heat. Place the bread into the pan. Give it a few moments, and put 1 egg into the middle of the hole. When the egg begins to set, flip the whole thing over. Keep flipping until the egg is done the way you want. Keep the heat on low and don't get impatient; you'll have ashes on charcoal if you put the heat up too high. If you make more than one, put more butter in the pan each time. As a slight variation, you can put a slice of your favorite cheese and/or a deli thin slice of ham about a minute before it's done cooking. Do not flip once you've put the cheese on. This is also known as One Eyed Toast or an Egg in a Frame (in the southern parts of America). A similar dish using Italian bread and peppers is made in Moonstruck (1987) (1987). The source of the aforementioned recipe is here. No, V is not related to Gordon nor do they ever meet in the film. The similarities are there to illustrate that the two men are similar in their respective situations: V was sent away to a detention camp, Gordon would likely be similarly sent away if his identity as a gay man (a sadomasochistic gay man) were publicly known. Both are forced to hide their "true faces" in order to survive. It's also likely that, in the earlier scenes of this nature, that Gordon is being set up as a red herring for a possible secret identity for V, though the film points out rather quickly that this is indeed not the case. Additionally, V is unusually tall and thin; Gordon could not possibly fit into that costume, and, having seen the DVD image, he must know it himself, and know that Evey can see this as well.
The similarities drawn between various people in this film—which have led to multiple questions along the vein of "Is this person also that person?"—are intentionally designed to demonstrate that everyone is human. Everyone is "the same" in that they are deserving of freedom, justice, and the chance to live. This would be meant to stand against the Norsefire government's message of minorities, sexual "deviants" and others being a threat due to their perceived differences from the majority group. In the book, V is referred to as an idea/concept, and this could be applied to other characters in the book; no matter how "normal" you try to make people, their individualism will always show through. Gordon had a secret room and was homosexual, the man in charge of "The Head" was in love with the computer that fed him information, and it is implied (towards the end) that he masturbates over it, which could also be deemed non-"normal" behaviour. They are homoerotic pictures of muscle-men in intimate moments. At a glance, it would appear that they are photos in the style of Robert Mapplethorpe's work. [‡] The two-barred cross appearing on the red-and-black Norsefire flags, as well as nested between wings at the base of the "Strength through unity, unity through faith" posters similar to the Cross of Lorraine. Carried by the Knights Templar and still used in modern Freemasonry, the cross also was associated with Joan of Arc, and denotes the rank of Cardinal in the Catholic Church. This may be a subtle reference to the infamous "blood flag" of Nazi Germany, which had a similar color scheme and also used a cross variant, the fylfot, as its chief device, now known almost exclusively as the swastika. The cross could also be seen as a St George's Cross (representing England) and a Nordic cross (representing the "Aryan" race) placed together. In the graphic novel, the posters (which originally read "Strength through purity, purity through faith") used the traditional Christian cross. This change may have been an attempt to avoid offense. Some viewers have suggested that the Norsefire symbol signifies how the party has double-crossed the people. The scrap of paper was the one she grabbed before going out the night V found her. It had Gordon's address (and a time to meet him) on it. For some reason, she still had it the next day when V took over the TV station. She wanted to escape V's lair and she felt she would be safe at Gordon's. She told V all the background stuff to help convince him to take her "out" with him so she'd have a chance to escape. During Finch's "everything is connected" speech, we see various shots of events past and those yet to come, including Gordon throwing a lighted match into a waste basket and burning something. What you're seeing in that moment is Gordon burning the censor-approved script that he told Evey he'd "thrown out" when he wrote "a new one," i.e. the show lampooning Sutler, which got Gordon arrested. If you look closely, the paper in the basket is stamped with the word "Approved." "Balls!" It's British slang, the equivalent of "bullshit" (or "horseshit"), similarly implying "I don't believe this; it's lies!" or "you're talking rubbish." Can also be used as an exclamation like "Damn!" If you are "talking bollocks", then you are being accused of lying or speaking nonsense/absurdity. It literally is a slang term for testicles. It is very much more commonplace in the south of England, where it is used a great deal. "The dog's bollocks", on the other hand, means "excellent", the total opposite of every other context that bollocks is used in, and may be a crude equivalent of "the bee's knees". When Prothero is on the phone complaining about the DoP, he says "In the morning, the Paddy will be gone." The term "paddy" is a derogatory term to describe an Irish person. It comes from the common Irish name of Patrick and is often used as nickname. In his conversation with Inspector Finch, William Rookwood spells out the plot hatched by the government to seize control of the country, and responds to Finch's suggestion that he be placed in protective custody by stating, "If you want that recording, you'll do as I say." However, it is never made clear what recording is being referenced here. In the screenplay, there is an omitted piece of dialogue wherein Rookwood indicates that he recorded the conversation when Creedy came to him with the assignment of taking the virus to St. Mary's. This line was dropped from the finished film, but the subsequent mention of the recording inexplicably remained. Later events would have revealed that the recording did not exist, and was merely part of a ploy to get the police to place Creedy under surveillance, contributing to his worry that Sutler did not trust him and was spying on him. It is the Palace of Westminster, also known as the Houses of Parliament, on the bank of the River Thames in London. The structure serves a similar function as the United States Capitol building, which houses Congress, but in the film the Houses of Parliament are no longer being used since the British government no longer contains a legislature. The building's famous Clock Tower displays clock faces on all four sides and contains enormous bells which sound four times each hour (the moniker of "Big Ben" belongs to the largest of these bells, which weighs over fifteen tons). Just because somebody wears body armour doesn't mean that it can stop that many bullets. If a bullet is shot at that close range, such as we see in the film, it can probably pierce through, especially if it's already filled with holes from other bullets. Body armour also only tends to protect against penetration by diffusing the impact across a larger surface area. Getting shot with body armour is comparable to getting hit at the same speed with a baseball instead of a bullet, which can cause internal bruising and bleeding, and after enough hits, just the impact alone can be fatal. You also see him getting shot in the hands, arms, shoulders and back, any of which could also harm him, as these hits coupled with his extensive movement immediately afterwards as he fights would cause an extraordinary amount of blood loss. The armour visually quotes the angels' armour in "Wings of Desire"—cited in "V4V from Script to Film"—and symbolically, when he removes it, he puts off something transcendent, just after the Matrixy shivering of the background that intimates a shift of realities, descending to ordinary mortality. Hugo Weaving, in an interview, described V as "a kind of angel". After V refuses to remove his mask, Creedy orders his men to fire. After being shot repeatedly, and mortally wounded despite a metal plate in his vest to protect him, he massacres all of Creedy's men, including Creedy himself. He then removes the metal plate and stumbles out to Evey. The two share a tender moment and V tells Evey that it is up to her to decide if the train filled with bombs should blow up Parliament, as his exile has made him no longer part of the people. He dies in her arms. Evey places V's body inside the train and is interrupted by Finch. She refuses his orders to stand down, and convinces him of the country's need for hope. Finch lowers his gun, Evey pulls the switch and the train goes off. A mass of people approach in silence, orderly but not in marching order, outside in V's mask and cape, overtaking the guards. As the 1812 Overture plays in the background, Parliament blows up while fireworks burst into the air in the form of a "V." (The "metal plate" is in fact the breast-plate of the armour from the full suit in V's hideout—the one he used for his sword fighting practice.) a5c7b9f00b
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