Monday, November 12, 2012

Dance Dance Revolution or Why Natalie Portman Won't Return My Calls

I first saw V for Vendetta when I was living in Boston.  My roommate, who was majoring in Criminal Justice and an aggressive Israeli nationalist insisted upon the importance of this epic. The best part about this movie is when she kisses V's mask, because we're waiting for it forever for these lines to meet and when they do it all comes full circle. I thought it was pretty epic too how HOT Natalie Portman is and how bad *s* V is.

Not only is V a competent intellectual and curator of rare art, he also has a love for the deadly arts. He is a proficient and highly skilled technical killer who is out for revenge.  Revenge must be calculated and precise, revenge must justify past injustices through blood on the screen, dead uniforms and a twee smile. We've got to go back to the beginning, to my constitution, where it all began. As I give you the rose I urge you to know that it is an explosion. For V to succeed he must exceed the technical skills of the facist bureaucracy, he must know more and monitor everything like the Batman Bank or the Pentagon. V has mastered the computer. V has mastered the archive and so has mastered the art of simulation. We cannot tell the difference in Book Two Section 3: Video; all is overrun, the noise of different channels bleeds together allowing V to arrive as the confusing/superhuman/overstimulated culmination.  Everything all at once, and we are shown signs of this.

To move for a second from the book to the movie...I want to look at the scene of Evey's rebirth, wherein parallelism is overcoded.  In short, Evey, stands on the roof in the rain after being in fake prison while images of V on fire screaming are triumphantly intercut.  Why is this necessary? The moment cannot be without V??: Evey from V. She would never have gotten out of prison if not for V//never would have gotten in to prison if it wasn't for V//but she was in prison anyway. So Evey wears the mask the whole time. Also how did V pull of the charade that he did, and how was Evey so duped? Or does it go back to this whole surveillance, power, fear thing? By that I mean that like fear obscures everything and so it is easier to get taken advantage of and artists use lies to tell the truth and politicians use lies to cover up the truth.  But parallel lines, like that is also the solution the whole time. In order to win you have to play the game and you have to play it better than anyone else.  And kiss the mask they're in love, Evey tries to kiss me remember?

But back to this parallelism thing--It insists on the simultaneity of things resulting from the logic and dissemination of power, right, isn't that what we're supposed to be taking from this? Can we not defend? Should I not cry when I hear the voice of the people? When we take our revenge, we must wait and plan and plan. We are pressed somewhere between the V and the Circle.  We are pressed between an insistence upon parallelism and the big line dance.

This is about coincidence, that there is no coincidence because everything is connected as a chain of events. I am beginning to understand that things are systematic, methodological, the falling rows. It is Evey and I kissing the mask. It is the symmetry of our lives, how Natalie and I share the same birthday, how we are both 6 feet tall, how we both have green eyes, or how we both speak English and one other language and how we both came of age at the exact same time and I love her.  It's the simple things that mean so much.

1 comment:

Robert Merritt said...

Cool Title, not that funny though