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The Count of Monte Cristo, Napoleon, and V for Vendetta

I’m not a movie person. I used to be, when I lived in San Francisco and going to movies offered delightful experiences ranging from the mini-mall of the Kabuki Theater to the cozy popcorn of the Red Vic. Here in Michigan, though, the experience is not so magical. Nevertheless, because I once hung out with folks hipper than I am, I have a remarkable habit of going to the opening weekend showings of the Wachowski Brother films, including V for Vendetta.

I can’t vouch for V for Vendetta’s interpretation of the Alan Moore graphic novel (and I’m frankly glad that my graphic novelist friend probably won’t read this post). But I can vouch for V for Vendetta’s interpretation of Count of Monte Cristo. Whether intentionally or not, the movie succeeds in doing something the original serialized novel did (and few appropriations since have done well)–use a pop culture medium to meditate on the most just relationship between the state and individual. In this post, I’ll explain some of the political background of the Count of Monte Cristo as a way to explain how clever V for Vendetta’s appropriation of the Monte Cristo tale is. I’ve given a spoiler alert below, so if you want to read the bit on Monte Cristo, you’ll know where you need to stop before you get to the V for Vendetta stuff.

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