The Many Faces of Moriarty
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Moriarty is, however, depicted entirely differently in the cinematic
adaptation of The League o f Extraordinary Gentlemen, one about which
Goldman feels it necessary to note, “The adaptation is certainly of the iooselybased’ variety. Moore was famously (and understandably) unhappy with the
film” (152). Hiding in plain sight rather than shrouded in mystery, the film’s
plot surrounds Moriarty’s identity in layers of deception. Originally introduced
as “M,” the figure responsible for calling together the League, intertextual
assumptions are used to dupe the less literary, more movie-going audience,
intentionally playing on their recognition of Sean Connery—who plays Allan
Quartermain, the film’s true protagonist—whose most memorable role remains
that of James Bond. But there are other false tells, as well, which continue to
conceal M’s identity.
“The Fantom,” a character appearing, at least in this guise, only in the film,
is one of the most intriguing alter egos “M” creates for himself htQdMSQ, in truth,
it is not for himself he has created it, so much as for the League. In a move
evocative of George Lucas’ Darth Sidious, Moriarty fashions a false arch-villain
for the heroes to chase so that he can further distract them from both his true
identity and true purpose. This move is made all the more symbolic by the fact
that, unlike in the comics, within the universe of the film, the League does not
actually exist, but is a mere ploy through which Moriarty manipulates its
members. That is, the professor assembles, or constitutes, his enemies—in quite
literal terms they do not exist, at least as a threat, until he does so—thereby
reinforcing the concept that villains, at least, must be defined in opposition to
the heroes they face, even if it cannot always be said to be true the other way
around.
Like the seemingly benevolent “M,” the “Fantom” appears to be an
intertextual reference to Gaston Leroux’s character, made more famous by the
cinema and the stage. Upon the League’s learning of this supposed nemesis, the
viewer’s false assumption concerning his seemingly obvious identity is further
goaded by Quartermain’s quip, “How operatic.” The more astute viewer may
recognize that—especially due to the evocative spelling—this phantom is more
likely modeled on a character from French surrealist literature, one who shows
up in later comic book installments of the League', however, within the context
of the film, this itself is yet another false lead. Early on, Moriarty’s second-incommand verbally slips during a confrontation that has suddenly gone awry
once the uninvited American, Sawyer, has shown up and thereby tipped the
balance; passionately, Moriarty’s man cries, “Run James!”—^potentially
enlightening the League as to the Fantom’s true identity.
Despite the discrepancies—and there are many—between the comic book
and the film, which share little more than a title, since indeed their very plots, as
well as many of their characters, are unique—despite these discrepancies, one
minor point remains the same. Moriarty’s men, his nearest colleagues, call him
by his Christian name, James. In both instances this evokes an unusual aspect of
the character: his humanity. Elizabeth A. Trembley in her article, “Holmes is