When I saw “V” for the first time in 2003, it was a refreshing experience. I watched them recorded on VHS tapes from my uncle who insisted I see the first mini-series and then its sequel, but avoid the spin-off TV show entirely. And I did so, accordingly. “V” is famous not just because it’s an epic science fiction mini-series from the late seventies but because it’s one of the most intelligent and relevant science fiction series of all time that is much more about aliens taking over the world. What seems like just a struggle of two races trying to live side by side after a visit from a massive army of human-like visitors from space actually becomes a very thought provoking metaphor for the Nazi regime and their occupation of new territory that inevitably turned in to an all out invasion and war.
The aliens who are declaring to be our friends at first soon become our mortal enemies, while the remaining humans who catch on to their ruse are soon symbols of the Jewish culture who resisted their invasions and were either murdered in mass numbers or taken prisoner. The show was such a brilliant take on world history even down to its trademark love became V for Visitors, then V signifying a peace sign, and soon took on a life as the Visitors own swastikas.
Decades after the legacy of “V” even the most loyal of the series’ fan base were wondering what a remake would look like and how they could fix some of the flaws from the original mini-series including the admittedly dated special effects, and surely enough ABC delivered with their modern re-telling of “V.” I honestly would love nothing more to tell you that modern “V” is to the original “V” as “Battlestar Galactica 2004” is to “Battlestar Galactica 1978,” but that is sadly not the case at all. “V” begins on a normal day in the city where we get to meet our core characters in a matter of five to ten minutes and learn their motivations in the world, until a series of tremors is met with downed fighter jets that introduce a massive visit from humongous metallic spaceships that hover over major metropolitan areas all over the world. The terrified denizens are greeted with a gorgeous young woman with the facade of your average polite flight attendant insisting they come in peace and their plans will soon satisfy their desperate need for answers.
Normally a giant Morena Baccarin smiling down on me would make me as giddy as a fat kid stuck in Willy Wonka’s factory, but as is the case with the genre, a pretty face often has an extra row of teeth behind it. Even the love Brazilian Morena. The series manages to toss in some lip service and winks to fan boys of all kinds introducing some noted Canadian actresses, remaining true to the central premise of the original series (beauty means instant acceptance with us Earthlings! Who cares about brains or motives?), and there’s even a supporting performance by Alan Tudyk (who co-starred with Baccarin in “Firefly”) who comes on for a crucial few episodes. I did enjoy that the writers do understand that the root of all of our trust is the media and superficiality, thus most of our visitors are pristine, beautiful, flawless men and women who manage to exploit the media to their liking in exchange for favors and sneak in to our consciousness unaware that some of us are trying to figure out what they’re up to.
There’s also my favorite sub-plot involving young Father Jack Landry, a devoutly religious priest who is unwilling to deify and praise the visitors even in the face of dwindling followers of the church, and at the behest of his superiors who insist they’re gods in the flesh. Rather than live up to the original’s message of the aliens simply being metaphors for the Nazi movement, “V” manages to get much more complex by visiting this new version that insists the visitors have always been here from the very beginning walking in the back door under the cloak of darkness posing as us who corrupted society, ruined businesses, implanted agents and politicians to completely destroy the economy, and then walk in through the front door to offer us answers to our worst problems and salvation allowing them to completely dominate the world with the unquestioned support of our population convinced they’re what we needed all along. This not only touches on our society’s root conspiracy theories about purposeful destruction of our core values and political infrastructure, but also hits on the paranoia based around our fear of terrorism. The question asked throughout is are the visitors the villains or are the humans resisting their advances the terrorists?
“V” does manage to be a sharp and intelligent remake with some volatile themes and conspiracies that touch on the undercurrent of fanatics who are convinced we’re in the throes of a gigantic secret plot to destroy the world that goes beyond the government and uses that as a source for storylines. Moren Baccarin is delightfully despicable as head Visitor Anna, a being who is one part strategist, one part press agent, and one part exploitation artist who meets her back with human journalist Chad, a man struggling to garner fame by this event. The problem with “V” is that while it possesses all the necessary grit, realism, and special effects necessary to convince audiences that this is a new generation of science fiction but it lacks the heart, humanity, and intelligence the original series does. While the cast seems meticulously designed to fit the molds of our protagonists forced to go head to head with this worldwide event, there aren’t many actual sympathetic or human characters to root for. They’re lacking in depth and dimension and most of the time only seem like mere outlines for actual characters the series slowly struggles to get us to connect with, but really doesn’t succeed very well.
The show runs on the name recognition of “Lost” actress Elizabeth Mitchell who leads the cast through these aimless storylines as Erica Evans and looks absolutely bored whenever she’s on-screen. She’s listless and lethargic, and she displays zero emotion, not to mention the relationship between Erica’s son Tyler and Visitor Lisa feels an awful lot like padding while the sub-plot involving the tactical rivalry between head Visitor Anna and journalist Chad takes a backseat. Logically it’s the most entertaining of the sub-plots, but the writers opt for romanticism with Tyler, and action with mom Erica. If that’s not enough there is some rather clunky symbolism which includes a small version of the World Trade Center crashing, and a giant crucifix falling in a church signifying that these aliens are something much bigger than a deity. And that’s only the pilot.
Plus if you’ve been building parallels from “V” to “Battlestar Galactica” take solace in the mimicking of the latter mentioned series primary gimmick in the arc that anyone in the cast could be a Cylon. “V” performs the same basic gimmick after the explanation that the Visitors have been here for decades so… anyone in the cast can be a Visitor. Whether that’s a selling point or a deal breaker, I’ll certainly leave that up to you. “V” unfortunately puts the most fascinating sub-plots and themes in the back burner in exchange for more sensational storylines and blatant “Lost” parallels digging it in to a grave of mediocrity and downright tediousness. When it can be exciting and heartfelt, it instead opts for “Lost” atmosphere and flash leaving it absolutely polarizing for the most open-minded viewer. The DVD is offered with 5.1 Surround sound and 1.78: 1 aspect ratio and widescreen.
Bells and Whistles include unaired scenes and commentary from the creators accompanying select episodes; “The Actor’s Journey: From Human to V” is a sixteen minute feature that includes interviews with the entire cast and the producers all of whom present their take on this new series, and their memories on the original franchise. And they manage to offer up some insight in to the characters for season one and the dichotomy of Erica and Anna. “Breaking Story: The World of V” is a sixteen minute feature about the writers and producers dealing with the multiple storylines and plot threads and how they handle the sub-plots with every individual and how they reflect on one another and connect in this new world, as well they also explore some of the visual effects and how they explore the characters of the series.
“An Alien in Human Skin” is an eleven minute delving in to the special effects and make-up of this new V, and how they had to evolve the make up and prosthetics from the original series which is thankfully shown through clips that are still quite startling to see. They explore the process for what kind of violence and action is needed, and glimpses in to the new alien designs. Finally, “VFX” is a fifteen minute piece revolving around the more visual and striking aspect of the series including ship designs, sets, explosions and the new technology introduced by the Visitors in to Earth. It’s a surprisingly technical short special feature showing the computer artists overlaying, experimenting with colors and grids, and altering performers appearances for certain shots.
“V” is not the worst remake of the mini-series I expected it to be, nor is it the stale xeroxing it’s been derided as. It has a clear cut intelligence to it, a new angle on the menaces in human skin, and some top notch talent with scene stealing performances from Morena Baccarin, Joel Gretsch, and Laura Vandervoort, but it lacks in excitement, thrills and the heart that predecessor managed to capture for so many decades. It’s a decent and watchable remake, but it surely will not go down in history as its forefather did. If you tuned out of “V” after three episodes like I did, here’s your perfect chance to re-visit this new series and decide for yourself if this is every bit as good as the original… or just a waste of a great opportunity. Do it now because it may not be around for much longer.