We all seem to love child prodigies. The concept of someone so small doing something well ahead of their years seems to fascinate our minds. I suppose the same holds true for professional killers. We all seem smitten with teenage depiction of super-powered killing machines. Last year presented Kick-Ass whose real star was the adolescent Hit Girl (Chloe Moretz-Grace), pint-sized reaper of carnage. Then there’s River from Serenity, Gogo from Kill Bill: Volume One, the ladies of Sucker Punch, the Heavenly Creatures girls (at least this one is based on a true story), and pretty much half the cast of Battle Royale. Just wait until The Hunger Games comes to screens in 2012, built upon the premise of 12-18-year-olds fighting to the death on national television (so the premise is almost exactly Battle Royale). We love our innocence mixed with ironic cynicism. Along comes Hanna, the tale of another teenage girl leaving a trail of bodies in her wake.
Hanna (Saoirse Ronan) is a sixteen-year-old girl living above the Arctic Circle with her father, Erik (Eric Bana). She’s been in survival mode all of her life, preparing for a day when she would finally break free and seek vengeance. CIA Agent Marissa Wiegler (Cate Blanchett) killed Hanna’s mother and has been lying in wait to finish the job, eliminating the rest of the family. Erik has taught his daughter well to think on her feet, master several languages, and become an excellent marksman/fighter. Hanna makes the choice to set their plan into motion. She triggers a device that signals to the CIA where they are. Marissa sends a crew to pick up Hanna and Erik, but only finding the girl. Once in an underground CIA compound, Hanna turns her focus on Marissa, killing her double (good call, lady), and breaking out of the compound. She finds that she’s been taken to Morocco. Fortunately, a family is traveling through the land and Hanna can catch a ride before she meets up with dear old dad in Berlin. Marissa sets out on a manhunt to find Erik. She hires a group of German criminals (led by Tom Hollander) to retrieve Hanna (“I need you to do things my agency will not let me do,” she reasons). Everyone is on a crash course to Berlin, where Hanna’s mysterious origin will be finally revealed.
Director Joe Wright blew away all my expectations for him. The British director was mostly known for visually lavish period pieces like Pride and Prejudice and Atonement. This is a drastic change of pace and proof that the occasional art director can produce a great-looking, meditative action thriller that still delivers the goods. Wright’s camerawork is beautiful, making artful use of composition, lighting, and editing to deliberate purpose. There were several moments that I just got caught up in the look of the film, aided by the energetic if sadly too-often absent score by The Chemical Brothers (I love the chunky bass groove on “Container Park”). I was just impressed what could be produced under the guise of action cinema. This is an elevation of the genre. Wright’s color palette is awash in ominous reds, soft blues, and delicate yellows, which helps give the film this painterly approach to photography. Pay attention to the dream-like visual metaphors connected to fairy tales (Marissa seems to have a tooth cleaning fetish –“What big teeth you have…”). At the same time, Wright knows how to stage a terrific action sequence. His signature tracking shots allow the audience to become enveloped in the action, taking in the punches and kicks without the disorientation of the popular erratic editing style of modern action cinema. Bana taking down a bunch of goons in a subway level is made more thrilling because we see every second of activity, allowing the moment to build in tension as he is followed, then cornered, then strikes out.
17-year-old Ronan has left the awkward pubescence of The Lovely Bones far behind her. Like her Atonement director, she too steps far beyond our concept of what she is able to perform. Ronan is a five-foot-tall wrecking crew. She keeps her eyes intensely focused, tense blue orbs. At the same time that she convincingly kicks butt up and down the screen, Ronan successfully communicates the internal drama of her character. Hanna is an outsider trained her whole life for a single purpose. When she’s left in a Moroccan back room, Hanna is overwhelmed by the cacophony of noises by electronic appliances, at a loss to make the melange of sound cease. She’s a victim of her own upbringing and her father’s quest for vengeance. Ronan keeps her icy cool demeanor when she means business, but the Irish lass and her straw-blonde hair manage to find the girl inside the super girl. Bana (Star Trek) is suitably stoic and conflicted as the father, and all hail Blanchett (Robin Hood) as a good villain for once. With her Southern drawl, she presents an alluring sense of menace throughout without breaking down into over-the-top histrionics. Blanchett is so good as a slippery CIA agent that you wish she didn’t farm out her villainy to a group of German goons.
What holds Hanna back from greatness is it uneven natures of its plot and the lack of sustainable action. The movie is just as much a strange coming-of-age saga for a girl who was raised in the woods. The lengthy travelogue with the British family from North Africa through Spain kills the film’s momentum routinely. Things will start picking up, the excitement builds, and then we cut back to the goofy caricature of a flighty liberal family (Olivia Williams and Jason Flemying as the parents). Despite the painful “do what you feel?” parenting cues, the family unit seems to have some level of functionality. These scenes are meant to contrast with Hanna’s own upbringing. It’s meant to show the life that Hanna has never been allowed to choose. But I got that rather quickly. Also, if you want to sell the “alternative path” contrast it would have more impact if this foil family were more appealing and less annoying. Even moment Hanna tags along as a stowaway with this family it disrupts the momentum. I understand that Hanna needed some narrative excuse to get from the rocky deserts of Northern Africa into central Europe, but when you’re dealing with a super kid, why rely on her just hitching a ride with a van full of hippies?
What really let me down was the lack of sustainable action that developed. While I’ve already credited Wright’s handling of the onscreen fisticuffs, I just wish there was more of it. The action occurs in spurts that fail to keep up. That tracking shot fight sequence is wonderful, but it’s too short. Hanna taking out men twice her size is undeniably enjoyable, but short of an excellent sequence of hide-and-pummel through a cargo ship yard, Hanna is never put in a position of risk. Sure she’s in danger but she’s never overmatched, which is part of the reason why the action sequences only happen in bursts. Her competition never seems to be truly threatening. Hollander (looking eerily, eerily like celebrity blogger Perez Hilton) in white bike shorts is not that intimidating. He’ll stand out, which might not be what a CIA agent wants when she hires goons to track and kill a super kid, but he’s never more threatening than Henchman #2 status, though he’s been irresponsibly promoted for the purposes of this movie. I realize that Wright and his screenwriters, Seth Lochhead and David Farr, wanted a character-based action thriller. Hanna is that film, but it could have been a more thriller vehicle if more attention was spent on the realities of their dramatic setup. The problem with making Hanna a super kid warrior is that she needs either BETTER competition or MORE competition. Pick one. But having a small number of inferior toughs seems like the worst outcome for people who want solid, sustainable action.
The plot of Hanna is fairly conventional but the style and feel of the film are anything but. Wright has assembled a first-class art-thriller that would have been a work of true greatness if the plot could have gotten itself figured out. Splitting time between action set pieces and a family road trip is not an ideal use of running time. The action works fantastic, that is, when it does make its too-brief appearances. I’ve read several comparisons to Run Lola Run due to the stylized visuals, pace-setting electronica score, and likely general German setting, but I feel these comparisons are surface-level; Lola was a firecracker of style and energy rarely replicated in film (it’s my go-to film to show people who are self-described haters of foreign films). Hanna is no Lola, but Hanna is still a class ahead of her peers. Wright and company have produced a film that is moody, stylish, thrilling, and just a little bit ridiculous. As Hanna says to her prey, she just missed your heart. Whether that’s by design or accident, we’ll never know.
Nate’s Grade: B
Posted on April 2, 2011, in 2011 Movies and tagged action, cate blanchett, drama, eric bana, joe wright, killers as leads, olivia williams, saoirse ronan, spies, thriller, tom hollander. Bookmark the permalink. Leave a comment.