Trick or Truth Cards Available Here!

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These cards are perfect for handing out on or before Hallowe’en! They’re also ideal invitations to V for Vendetta events scheduled for November 5^th, Guy Fawkes Day...and to World Peace Week/War on War Week events scheduled for the week of November 5^th to November 11^th. 

What kind of events? Well, for starters, how about a V for Vendetta House Party on Monday, November 5^th!  Invite your friends, and maybe some strangers, to come over and watch V for Vendetta and talk about fascism and false-flag terror and what to do about them. Dress up in V for Vendetta costumes and Guy Fawkes masks...blast the 1812 Overture...maybe set off some fireworks in the yard...eat cookies in the shape of the V symbol...let your imagination run wild!  If you’re a hardcore V, wait until midnight, then head for the nearest monumental government building and set off some fireworks! (Note: mujca.com does not advocate illegal activities—please check on the legality of impromptu fireworks displays in your jurisdiction.) 

Watch 9/11 Vendetta, a 9/11 truth take-off on V for Vendetta, here.  Read more about V for Vendetta Day here. 

Buy V for Vendetta DVD here.   More supplies available here.  Buy Guy Fawkes masks here. Buy V for Vendetta graphic novel here.   

More event ideas for 11/V through 11/11 here . 

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From V for Vendetta movie review by James Wolcott, Vanity Fair: 

Everyone settled into their seats and as the lights dimmed, I recalled how Pauline Kael would sigh at screenings as the room darkened, "Let us pray...," her way of hoping for the best. I don't know what she would have made of the movie, but when it was over I knew it was the movie our post 9-11 minds craved and unconsciously had been working towards, a movie that conjured the fear of terrorism and repression and didn't just tell us how we got into the Orwellian predicament we're in (terrain already attacked by Fahrenheit 9-11, Syriana, Why We Fight), but made the imaginative leap that would lift us out of the news, out of the political present, and stand up to that fear--face it with fury and compassion. The irony is that to face the fear, a mask was required, a mask with a mocking grin. 

"People shouldn't be afraid of their governments...governments should be afraid of their people."

V for Vendetta may be--why hedge? is--the most subversive cinematic deed of the Bush-Blair era, a dagger poised in midair. Unlike the other movies dubbed "controversial" (Fahrenheit 9-11, The Passion, Munich, Syriana), it doesn't play to a particular constituency or polarized culture bloc, it's working on a deeper, Edger Allen Poe-ish witch's brew substrata of pop myth. Cultural conservatives will loathe it without seeing it (they love not having to leave their houses to lament the latest installment of civilization's decline and fall) once they hear of and read about the movie's disturbing political parallels (a fascistic TV host with a witty resemblance to Berlusconi, fertilizer explosives a la Timothy McVeigh; torture, renditions, and subway bombings; black hoods that will be forever associated with Abu Ghraib). Yet lots of cultural liberals with educated tastes will find it anxiety-producing and irresponsible too, not only because they're more comfortable with humanistic stories and documentary techniques than with pop spectacle (as Kael discovered whenever she praised upstart movies like DePalma's Carrie or The Warriors and received letters from profs and Ph.D couples complaining about her soiling the New Yorker's space on trash), but because V for Vendetta doesn't just depict a 1984's dystopia--it advocates radical remedy, and illustrates what it advocates with rhapsodic, operatic, orgasmic flourish. It follows the course of its own logic to its Kubrickian conclusion, but this isn't a clinical exercise, like Kubrick at his most voyeuristically detached. This movie is fully engaged. Its masked, caped vigilante is both Batman and Joker, nocturnal enigma and nimble trickster, the Count of Monte Cristo, Zorro, and the Phantom of the Opera tucked into one suavely tormented frame, the antihero's secret lair a gothic sanctuary equipped with its own Wurtlizer jokebox on which Julie London's Cry Me a River sultrily plays. The river of tears is the Thames, on the bank of which sits London's House of Parliament, the movie (based on Alan Moore's graphic novel) drawing its inspiration from Guy Fawkes and the foiled Gunpowder Plot to destroy Parliament on November 5th, 1605, a day celebrated annually in Britain with fireworks and parties. In V for Vendetta, monochromatic tyranny so oppresses, represses, and depresses Britain in its totalitarian condition that the only proper way to honor the memory and insurrectionary spirit of Guy Fawkes is to finish what he started. V for vendetta, v for violence, v for vindication. The return of the repressed with a vengeance. 

If it seems as if I'm darting around V for Vendetta rather than zeroing in on what I liked/didn't like, grading the performances, and pointing-out-subtle-details-to-prove-how-observant-I-am, it's because I don't want to give away too much of the movie, leaving that job to A. O. Scott and his fellow divulgers. To say that I found the domino montage as thrilling a coup de cinema as I've seen since DePalma first displayed his slashing mastery of crosscutting is to sound cryptic, but to be unelliptical I'd have to explain too much and wreck your fun. And make no mistake V for Vendetta is fun, dangerous fun, percussive with brutality and laced with ironic ambiguity and satirical slapstick (a Benny Hill homage, no less!). But gives the movie its rebel power is the moral seriousness that drives the action, emotion, and allegory. That's what I didn't expect from the Wachowski brothers (The Matrix), this angry, summoning Tom Paine moral dispatch that puts our pundits, politicians, and cable news hosts to shame. V for Vendetta instills force into the very essence of four-letter words like hate, love, and (especially) fear, and releases that force like a fist. Off come the masks, and the faces are revealed.

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