Red Sparrow
(2018)
(SPOILERS) The biggest talking point in the wake of Red Sparrow’s release isn’t the movie
itself, it’s whether or not J-Law is a bona fide box office draw. The answer is
fairly mundane: about as much as any other big name star outside of a franchise
vehicle is. Which isn’t very much. Peg her alongside Dwayne Johnson, Vin
Diesel, Tom Cruise and on the lower end of the scale, the
eternally-struggling-for-an-audience-when-not-Thor Chris Hemsworth. The movie
itself, then? While it replicates the stride and demeanour of a traditional
Cold War spy yarn with assuredness (as in, it’s a conscious throwback), Red Sparrow falls short in the
conviction stakes.
Indeed, more of the strident, brazen disregard for
convention of Atomic Blonde might have
done the movie a power of good, as it rather falls between two stools. On the
one hand, keen to emphasise the plausible strife, suffering and endurance of
Lawrence’s Dominika Egorova through unvarnished depictions of sexual assault, physical
and emotional violation, and… stylish water torture. On the other, happy to
titillate in classic sexy Hollywood thriller style. Dominika is presented as a
young woman with a capacity for violence, but almost entirely omitted is the
charting of her resourcefulness as an agent in favour of depicting training as
a series of sexual confrontations; then, lo and behold, she’s miraculously
deemed ready to go out in the field. There’s a fatal failure in underpinning
here, as we have no real insight into what Dominika’s supposed to have learned
(other than the art of conquering men, which is sketched as an intuitive sense
anyway), so everything that follows seems rather unlikely. And not in the Atomic Blonde, uber-heightened action
sense, but in the “Dominika would never get away with any of this” distancing sense.
Justin Haythe adapted Jason Matthews’ 2013 novel, one that
garnered comparisons with John Le Carré, but in
the screen version at least, never quite betrays the necessary sense of authenticity
and intricacy of the spy trade. That probably starts with the central conceit –
“ballerina becomes covert operative” is exactly the kind of ludicrous selling
point Hollywood laps up, about as plausible as an extreme sports enthusiast becoming
a government agent; for starters, if you’re well enough known to be
recognisable, why on earth would you be deemed a feasible asset, no matter how
many strings your less-than-beneficent uncle may pull? – but it extends to the schemes
she hatches, and the failure to elicit even a glimmer of tension between the demands
of the patriotic and the personal (the former are only ever seen as unjust and to
be endured in order to protect the personal; it might have been more
interesting if Dominika has some investment in both, leading to conflicting
loyalties).
Lawrence’s performance is fine, but for reasons of the
above, you’re never quite buying that she’d be able to command the responses or
permissions she gets (and the swimming cossie she chooses is all kinds of absurdly
flaunting). Then there’s her uncle Ivan (Matthias Schoenaerts, a ringer for a
young Putin in any biopic, surely a factor in his casting), who proves just a
little too gullible for such a guileful, ruthless figure (I know she’s his
Achilles’ heel, but it’s making that play effectively that’s elusive). That
said, Schoenaerts gives probably the picture’s standout performance.
Most of the rest of the cast seem like stock types in this
kind of formula paranoia, performing commendably but imbued with the distancing
that comes from experienced thesps approximating vaguely Eastern European tones
(I’ve said this of other recent Hollywood forays into other countries – The Girl with the Dragon Tattoo, Child 44 and The Snowman among them – but the device of English speakers
substituting for native languages seems increasingly antique). There’s Charlotte
Rampling’s stern matron, Joely Richardson’s crook mum (offering groan-worthy
motivation for Dominika), Ciaran Hinds’ shrewd colonel and Jeremy Irons’
quizzical general. Since we know there’s a spy to be revealed and there are
only so many suspects, there aren’t too many possible surprises (I was pulling
for Ivan, just to see how they’d explain it away), but Irons had to be
suspicious, wearing as he does his uniform in a shockingly slouchy manner (top
button undone, as if he’s just arrived from makeup unprepared, or been called
away from a particularly uncompromising bowel movement).
Joel Edgerton is duly serious-minded as Lawrence’s love interest
and makes much more of a thin role than a Pratt or Hemsworth would, but Nate
Nash is a selection of half-baked clichés, from being a bit of a rebel to
getting that one last chance from his bosses. One could argue that Nate and
Dominika being upfront with each other concerning their respective agendas
makes for a refreshing change, but it also saps any tension from the
proceedings. Plus, there’s no chemistry between the stars.
The tension is serviced sporadically by the reliable Francis
Lawrence, his fourth successive team-up with his surnamesake. He delivers the
splutterings of sex and violence effectively, although sometimes a little too
ornately (as in favour as I am of not dwelling on viscera, the care with which the
skin-grafting device isn’t shown in action, or come to that, the manner in
which a strategically-placed arm conceals his star’s finer modesty, serves to
confirm how mannered and old-school the picture is in basic form). Where he
stumbles is not dissimilar to Mockingjay Part
I, unable to find the appropriate pace amid the boring old talking, with
the consequence that Red Sparrow
tends to the languorous when it should be claustrophobic and bristling with
paranoia (De Palma at his peak could have worked his magic on it, including
making an operatic virtue of the dafter elements).
There are a couple of first-class scenes along the way,
though. One features a cameo from Mary-Louise Parker as a plastered chief of
staff selling secrets while Dominika covertly switches them (are they really on
floppy disc?!) and deals with her
leery boss Volontov (Douglas Hodge). Another focuses on Sebastian Hülk, on fine psychotic hitman form as reliable assassin Matorin;
the character’s only undermined at the final hurdle, for being silly enough to
let Dominika loose with a skin-grafter.
Red Sparrow is
predictably predictable with regards to its political take on the “evil empire”,
making it again less intriguing than the infinitely dirty goings-on of every
side in Atomic Blonde. This is more
in line with Salt, where Russia will
act with impunity against all things US simply because they’re Russia (that is,
after all, the story everyone has been coaxed to swallow whenever the country
is accused of malfeasance – “Of course they did, it’s Russia” – no matter how
inept such flagrant displays might make them seem). Where America may have its minor
issues (like failing to instil sufficient emotional detachment in its CIA guys –
but hey, their humanity is a virtue!), at least it doesn’t indoctrinate its poor
citizens (and its women!) to do its unspeakable commands... The essential
takeaway from the movie is that the only good Russian is one enthusiastically
betraying their country (unless excusably incapacitated), which probably thrills
the CIA (who endorsed the novel with two thumbs up. Well, four actually).
Ultimately, the two Lawrences have teamed on a movie that isn’t
thrilling enough to justify tentpole status or sufficient cerebral to garner
critical respect; no doubt they put their heads together thinking Red Sparrow would show off Jennifer in a
classy, serious, grownup role, but the material itself remains too pulpy to
permit that. I can’t say Black Widow was really on my mind while watching, but
any fears Marvel might have had for her announced solo outing – should they be
intending to plunder the obvious origins story – ought to be put to rest on
this evidence.
But even more than the iffy trained-assassin motif, Red Sparrow does rather leave open the
question of just how effective a modern-day political thriller of any ilk can
be, whether set in the Middle East or the former Soviet Union. Unless it’s
extremely astute, it will be relying on learnt devices and simplified
narratives, when the murk of motivation from all parties, and webs spun for
reasons that don’t simply come down to good guy-bad guy posturing, are required
if it’s to foster any conviction. As for a sequel (Red Sparrow is the first in a trilogy), I think we can safely
assume it isn’t going to happen, at least not outside of a TV reboot.
Agree? Disagree? Mildly or vehemently? Let me know in the comments below.
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