Klavan and Codename V

V FOR VENDETTA was of all films I have ever seen the most easy to

mock and the most easy to hate. I am happy Andrew Klavan shares some
part of my distaste and umbrage for this film. He writes in part:

Some of the Occupy Wall Street protesters have been wearing the Guy Fawkes mask from the film V for Vendetta.
 I think this is appropriate.  I have not read the graphic novel on
which the movie is based and make no comment on it, but the film itself,
which wears the mask of a liberating screed, is in fact one of the
most purely fascist
American films ever made.  It is a despicable apologia for murderous
violence against free institutions, and presents a pitifully unrealistic
rationalization for some of the most oppressive ideas currently in
vogue.

Like all leftist art, V for Vendetta achieves
its occasionally powerful effects by re-writing reality to fit the
upside-down progressive imagination. For instance, the film suggests
Christianity lies at the heart of political oppression. But in
Realworld, no matter what you might like to believe, the simple fact is
that Christianity has been in on the ground floor of every truly free
society on earth since the fall of Rome. (The one arguable exception is
Israel — go figure.) The film depicts the west’s war with
Islamo-fascism as an Orwellian mix of racist propaganda and eternal
mock-warfare. That in itself is an Orwellian lie.  Whatever its merits
as a religious philosophy, Islam has produced violent and oppressive
states since its beginning — and was oppressive even in its cultural
heyday, now almost nine centuries ago. It’s difficult to imagine any
genuine vision of a free world that does not include the suppression of
Islam’s violent extremists.

The film’s central gay character extols
the beauty of the Koran, the followers of which would endorse his
murder — yet he is murdered by Christians who, in life, might condemn
his practices but would also preach his loving acceptance as a fellow
sinner. The same supposedly enlightened character also rhapsodizes on
the work of Robert Mapplethorpe, whose sado-masochistic photos of
leather-clad men could easily have illustrated the sexual imaginations
of the brownshirts who facilitated Hitler’s rise to power.