Está actualmente em exibição nas salas de cinema do Porto e de Lisboa um filme que pretende ser a adaptação para o cinema da banda desenhada «V for Vendeta» criada por Alan Moore e David Lloyd (desenho) no início dos anos 1980, e cuja publicação começou pela editora Warrior com uma série a preto e branco, mas que depois foi retomada e republicada, já a cores, pela Vertigo/DC Comics nos Estados Unidos, e pela Titan Books no Reino Unido, nunca tendo sido editada em Portugal.
Esta banda desenhada tornou-se célebre por inspirar-se nas ideias sociais anarquistas de uma organização social caracterizada por uma ordem livremente construída, assente na liberdade individual. Esta marca ideológica está aliás bem patente nas capas dos livros desta banda desenhada pois o V de Vendetta é apresentado graficamente como o A do anarquismo.
O enredo consiste na denúncia de uma sociedade totalitária e o combate contra a tirania instalada.
A acção desenrola-se em 1997 na cidade de Londres, reconstruída depois de ter sido devastada por uma guerra nuclear, e que é dominada por um governo e um regime totalitário, cujos governantes se intitulam a mão, o ouvido e a cabeça, conforme as suas funções. O governo impõe uma tirania que não reconhece quaisquer direitos civis e impõe a censura, perseguindo e impedindo qualquer manifestação de oposição.
Trata-se de um estado que vigia os cidadãos através de câmaras de vigilância e que monta campos de concentração para quem não segue nem obedece a essa ordem social totalitária, onde são interrogados, torturados e mortos os contestatários. O paralelismo com a distopia de Orwell é óbvia, mas os criadores da banda desenhada tinham em mente criticar e contestar a politica da então primeira-ministra inglesa, Margareth Thatcher que no inicio da década de 80 foi o alvo preferido dos comics ingleses pela sua política de liberalismo selvagem e, responsável, pelos ataques aos direitos sociais.
A dada altura surge um justiceiro solitário para fazer frente a este totalitarismo. Conhecido simplesmente por V ( a Vendetta pretendia ser uma espécie de justiça popular anónima, uma retaliação contra a injustiça e os abusos de poder), o vingador solitário aparece vestido com trajes do século XVII e uma máscara reproduzindo a cara de Guy Fawkes, um personagem histórico que viveu entre 1570 e 1606 e que participou numa conspiração de católicos contra o rei inglês Jaime I, que pretendia m fazer explodir o edifício do Parlemento em 5 de Novembro de 1605, quando ali estivessem reunidos o rei, a rainha, o herdeiro do trono, os ministros e os paralamentares. A conjura abortou por acção da denúncia de um traidor, o que levou Fawkes a ser preso, torturado e executado em frente ao edifício do Parlamento.
A banda desenhada começa exactamente com V a salvar uma jovem de ser violada por polícias do regime que a leva em seguida para o cimo de um edifício onde ambos pudesse observar a explosão do edifício do Parlemento que ele preparara. V adopta então a jovem Evey e transmite-lhe a sua visão de liberdade e explica-lhe o significado das palavras anarquia e anarquismo, cujo significado sempre foi adulterado e pervertido pelo poder, nada interessado na difusão dos ideais libertários.
Nota-se ainda que a personagem V é uma mistura de características de vários heróis. Tem uma cara sorridente e age como aqueles heróis de capa e espada, tipo Scaramouche, mas é também um poeta espadachim como Cyrano de Bergerac. A sua agilidade e firça faz lembrar a dos super-heróis, ao mesmo tempo que o seu esconderijo está repleto de livros, obras de arte e uma jukebox que toca, por exemplo, Cole Porter e o tema Martha and the Vandelas: Além disso, o nosso herói cita frequentemente Shakespeare, William Blake, Loud Reed, Rolling Stones, etc
Ora foi esta história em banda desenhada que foi supostamente passada para o cinema pelos irmãos Andry e Larry Wachowski ( os autores de Matrix) num filme realizado por James McTeigue, com a participação dos actores Hugo Weaving no papel de V, e de Natalie Portman como Evey.
Dizemos supostamente porque na verdade o filme esvazia completamente a mensagem subversiva que se encontrava nos comics de Alan Moore e David Lloyd, cuja filosofia política sai totalmente branqueada tornando-se numa filme asséptico e incaracterístico, inócuo mesmo, que obrigou o autor do comics, Alan Moore a exigir que o seu nome fosse retirado do genérico do filme e que a sua pessoa não estivesse associada ao argumento montado pelos irmãos Wachowski.
O filme começa por mostrar Fawkes, em 1605, a encher as caves do Parlamento com pólvora, e depois a ser preso e enforcado. Mostra ainda a protagonista feminina a ser molestada pelos Apontadores ( polícia secreta) e a ser salva por V. Mas os grandes momentos da fita são as explosões dos edifícios do Parlamento ao som da «1812» de Tchaikovsky. O problema é que estas explosões que visam o símbolo por excelência do poder, que é o Parlamento inglês, não tem o sentido político que Alan Moore imprimiu na sua banda desenhada, tendo os argumentistas do filme convertido a forte carga política dos ataques ao poder totalitário num acto de pura vingança pessoal do sujeito que teria sido objecto de experiências médicas às mãos dos seus inimigos. O filme destrói e faz desaparecer qualquer conexão com a filosofia e a prática anarquista, ao arrepio e em oposição à vontade manifestada pelos autores do comics «V for Vendetta». Um ou outro resquício dessa mensagem releva da pura insignificância que passa perfeitamente despercebida a quem veja unicamente a fita, sem conhecer a banda desenhada que lhe serviu de base e inspiração. Os Estados Unidos, por exemplo, são ligeiramente beliscados quando no filme a sigla EUA pretende significar «Esfíncter Ulcerado da Asnérica» …
Em suma, trata-se de mais um filme-espectáculo da dupla Wachowski ( que também fez o Matrix), adulterando grosseiramente o obra «V for Vendetta» de Alan Moore, o faz com que o resultado final se aproxime mais de uma fita do Batman do que uma real adaptação para o cinema da banda desenhada «V for Vendtta», já tornada clássica na História recente dos Comics.
Um colectivo de libertário norte-americanos decidiu rectificar e expor os inúmeros cometidos na adaptação da banda desenhada para o cinema e criou um site para denunciar a situação:
Há também um site em castelhano:
http://vvvvv.vdevendetta.info/
Mais info:
http://en.wikipedia.org/wiki/V_for_Vendetta
http://en.wikipedia.org/wiki/Alan_Moore
http://www.alanmoorefansite.com/
http://www.shadowgalaxy.net/Vendetta/vmain.html
O site oficial do filme:
http://vforvendetta.warnerbros.com/
It’s no surprise that a film produced by multi-millionaires at Time-Warner, the largest f over $43 billion) would sell us the sizzle of violence and destruction while holding back the steak of anarchist opposition to capitalism. But it is worth taking a look at the differences between the book and the movie to see the specific ways they drain the story of its revolutionary politics.
Anarchy in the UK?
In Alan Moore’s comic book, V is an insurrectionary anarchist of the type that gave the ruling class nightmares around the turn of the 21st century—a bomb-throwing, dagger-wielding assassin and saboteur.
Most importantly, in the comic book, Moore’s V hints at the possibilities of a society organized without coercion. V is not only fighting against something, he is fighting FOR something. The constructive side of the anarchist vision is already downplayed in the comic book, but it is totally missing from the movie. What remains are V’s thrilling adventures in assassination and demolition. The viewer is left with a vague impression, however stirring, of rebellion tinged with nihilism. No alternative is proposed. The only mention of anarchism in the entire movie is when a wild-eyed stick-up-man shouts “Anarchy in the UK!” while robbing a grocery store.
Some of the characters are changed subtly as well: In the book, Evey Hammond makes the transition from helpless teenager to hardened insurrectionist. Evey’s character represents the possibility of people who are apathetic, cowed, and disengaged becoming transformed into active participants in revolutionary struggle. In the movie, she is from the beginning feisty and mistrustful of authority, and so her ‘transformation’ rings hollow. Are we to believe that only the natural rebels can fight the system, or that anyone can wake up and join in the good fight? In the movie too, the detective character Finch is made much more sympathetic, and only half-heartedly resists Evey’s final act. What would a Hollywood movie be without a good cop?
The movie’s presentation of fascism is watered down as well. It does draw some crucial links with the present situation in the US, making references to ‘rendition’, targeting of Muslim citizens, black hoods, detention centers, clampdown on radicals, profiteering by government cronies on mass vaccination, and fear-mongering over public catastrophes. But the comic’s clear-eyed presentation of fascism as a collusion between government and business elites to protect private capital is lost. In the movie, we are presented with an oppressive government, but its seems to be an oppression for oppression’s own sake. The real nature of fascism, which at root serves to protect private capital from the power of the people, is obscured.
Most importantly, in the comic book, Moore’s V hints at the possibilities of a society organized without coercion. V is not only fighting against something, he is fighting FOR something. The constructive side of the anarchist vision is already downplayed in the comic book, but it is totally missing from the movie. What remains are V’s thrilling adventures in assassination and demolition. The viewer is left with a vague impression, however stirring, of rebellion tinged with nihilism. No alternative is proposed. The only mention of anarchism in the entire movie is when a wild-eyed stick-up-man shouts “Anarchy in the UK!” while robbing a grocery store.
Some of the characters are changed subtly as well: In the book, Evey Hammond makes the transition from helpless teenager to hardened insurrectionist. Evey’s character represents the possibility of people who are apathetic, cowed, and disengaged becoming transformed into active participants in revolutionary struggle. In the movie, she is from the beginning feisty and mistrustful of authority, and so her ‘transformation’ rings hollow. Are we to believe that only the natural rebels can fight the system, or that anyone can wake up and join in the good fight? In the movie too, the detective character Finch is made much more sympathetic, and only half-heartedly resists Evey’s final act. What would a Hollywood movie be without a good cop?
The movie’s presentation of fascism is watered down as well. It does draw some crucial links with the present situation in the US, making references to ‘rendition’, targeting of Muslim citizens, black hoods, detention centers, clampdown on radicals, profiteering by government cronies on mass vaccination, and fear-mongering over public catastrophes. But the comic’s clear-eyed presentation of fascism as a collusion between government and business elites to protect private capital is lost. In the movie, we are presented with an oppressive government, but its seems to be an oppression for oppression’s own sake. The real nature of fascism, which at root serves to protect private capital from the power of the people, is obscured.
Quem foi Guy Fawkers ?
Remember, Remember the Fifth of November The Gunpowder Treason and Plot I know of no reason why the Gunpowder Treason Should ever be forgot
Who is Guy Fawkes, and what is his relation to V for Vendetta? Well, before you can understand his relation to the book, you need to understand why Guy is so (in)famous to begin with.
The short answer is this: Guy (alias Guido) Fawkes was one of the members of The Gunpowder Plot of 1605 in which a group of Catholics attempted to blow up the Houses of Parliament and kill James I, the King of England, to protest Protestant rule. As the man chosen to light the fuse and the first captured, Guy has recieved the lion's share of attention among the conspirators. The long of it is as follows:
Since Henry the VIII's reign, England was divided between Catholics and Protestants with the factions fighting bitterly over control of the throne. Queen Elizabeth I had been staunchly Protestant, but with her death and the succession of James I as King, Catholics had thought their persecution was at and end. They were wrong. Shortly after James' coronation in 1603, it became clear he had no intention of granting leniency to the Catholics.
Guy himself was born in England in 1570 but by the turn of the century, Guy had spent several years fighting for Spain in the Netherlands, as well as participating in the Siege of Calais. His years of service earned him a reputation for his bravery and skill, especially with munitions. (Spain, a long-time rival of England, was staunchly Catholic and was often seen as an ally to English Catholics.) It was through his reputation and his pro-Catholic activities that he was brought to the attention of Thomas Wintour. It was Wintour who invited Fawkes into the circle of men that initially comprised The Gunpowder Plot.
The initial five members of The Gunpower Plot (of which Guy was one of; the Plot would eventually grow to thirteen members) first met in 1604 and began their plans. By March, 1605, the conspirators had rented a cellar under Parliament and began stockpiling 36 barrels of gunpowder. Guy was in charge of maintaining the stockpile, keeping the gunpowder fresh until Parliament's next session. In October, word of the conspiracy leaked, possibly by someone within the Conspiracy, although the warning did not mention the Plot specifically.
Believing they still had time, Fawkes and his conspirators went ahead with their plans. Parliament was due to meet on November 5th and it was that day that King James' men discovered the stockpile. They also discovered Fawkes, who was standing guard, and on his person they found all the tools necessary to light the gunpowder. Guy was captured, interrogated, and tortured; after two days he confessed the details of the Plot. Along with the surviving members of the conspiracy (several members died during attempts to capture them), Fawkes was tried on January 27th, 1606, and executed on Janury 30th.
After The Gunpowder Plot was foiled, King James decreed that on the anniversary of the plot's failure should always be remembered. 400 years later, that celebration is known as Bonfire Night where bonfires and fireworks are lit, and effigies of Fawkes (known, appropriately, as "guys") are burned, in celebration. (You'll have to ask the individual revelers whether or they are celebrating the Plot's failure or its attempt.)
It is in this context that we come to V for Vendetta. As Alan Moore wrote in his behind-the-scenes article "Behind the Painted Smile":
The big breakthrough [regarding what the character of V should look and act like] was all Dave's, much as it sickens me to admit it. More remarkable still, it was all contained in one single letter that he'd dashed off the top of his head . . . I transcribe the relevant portions beneath:
"Re. The script: While I was writing this, I had this idea about the hero, which is a bit redundant now we've got (can't read this next bit) but nonetheless . . . I was thinking, why don't we portray him as a resurrected Guy Fawkes, complete with one of those papier mache masks, in a cape and conical hat? He'd look really bizarre and it would give Guy Fawkes the image he's deserved all these years. We shouldn't burn the chap every Nov. 5th but celebrate his attempt to blow up Parliament!"
The moment I read these words, two things occurred to me. Firstly, Dave was obviously a lot less sane than I hitherto believed him to be, and secondly, this was the best idea I'd ever heard in my entire life. All of the various fragments in my head suddenly fell into place, united behind the single image of a Guy Fawkes mask.
With the idea of Guy Fawkes, Moore was able to crystallize his vision of who V was and helped give Moore further inspiration towards the themes of rebellion and revolution that exists in the novel. These days, the idea of basing the "hero" of a story on a terrorist is one that could give many people pause. If you are interested, you can read my own thoughts on this subject in the essay "V and Terrorism" found in the Analysis section.
Lengthy as this summary has been, there is far more to the story than what I've written here. If you are interested in reading further about Guy Fawkes, The Gunpowder Plot, or Bonfire Night, then I encourage you to click on the links below to learn more.
The Gunpowder Plot: Parliament & Treason 1605
The Gunpowder Society
The Center for Fawkesian Pursuits
Guy Fawkes - Treason in 1605
The Encyclopedia Britannica's Entry for The Gunpowder Plot
A Celebration of Guy Fawkes Day
Guy Fawkes and Bonfire Night
