Hanna makes a sound argument that action movies need not be artless, though maybe when the person at the helm is Joe Wright the final outcome can only inevitably attain a level of artfulness worth observing. Wright is responsible for 2007’s Atonement, a strikingly beautiful film that remains mostly empty despite its impressive craftsmanship; where that movie falls short and fails as a complete picture, though, Hanna succeeds, melding strong action sequences with the same level of artistry and layering both atop a fairy tale narrative and a healthy, vibrant take on the tropes of movies in the international espionage tradition.
Wright’s eponymous protagonist is met killing a reindeer in the snow blanketed woods of Finland before getting into a fist fight with her old man, Erik (Eric Bana). It’s harmless play, though; Erik’s just being a responsible father and teaching Hanna everything he knows about arts both martial and intellectual, molding her into a tool for retribution against coldly sinister CIA operative Wiegler (Cate Blanchett). All their grand plans go awry, as these schemes so often do, and Hanna, a girl born in the wild and unexposed to a life free of violence and the threat of her own demise, must venture on her own to complete her father’s mission and maybe discover a thing or two about childhood and humanity in the process.
There’s a lot about Hanna which sounds generic on paper, and there’s maybe an argument to be made about the debt it owes to films like the Bourne trilogy. But Wright’s film distinguishes itself from other entries in its particular sub-genre in a number of ways, least of which being the numerous nods and references to classic fairy tales and folk stories. In fact Hanna often feels so much like a fairy tale itself that it never completely reads as a thriller about government’s shady secrets and how its heroine fits into the schemes of its agents; truthfully the film has as much kinship with stories such as Hansel and Gretel as it does with the works of a Robert Ludlum or a Tom Clancy. And why not? Every detail of Hanna‘s events can be boiled down to a global chase between a malevolent witch and an innocent young girl. Hell, Wiegler even gets her own variation of “I’ll get you, my pretty,” in the film’s climax– though wisely, Wright refuses to be anymore on-the-nose than that, weaving referential imagery into his film instead of jamming allusions down our throats with his plot.
And Hanna, for all of her competence in the fields of efficient killing and brutal violence, is very much an innocent. She is the product of Erik’s paternal exertions and Wiegler’s mysterious crusade against both father and daughter. Choice has never really been given to her– in fact the only time she’s allowed to choose anything in her life with Erik comes in the beginning, when she literally kicks off the film’s plot with the push of a button. Is Erik invested in her making the opposite choice? It seems like it, but it’s the only instance where Hanna really has any agency in the direction of her life until the film’s last act. Capable as she is at ceasing heartbeats, she’s really just a kid– a kid being yanked around by two adults with their own agendas.
There’s a through-line here about nurture and parenting, with Erik and Wiegler acting as two sides of the same coin as they vie for custody over Hanna’s fate. Ultimately, Hanna is about its protagonist having her eyes opened to a life completely alien to her own. On the run, her fate collides with that of a vacationing family comprised of Jason Flemyng, Olivia Williams, and Jessica Barden; Hanna’s experiences with them on the road at first confound her, representing interactions completely antithetical to the world Erik painted for her in their woodland isolation. How does someone taught from birth to adapt or die– verbatim in fact– react to a world where people are really just people and not everybody constitutes a danger to her?
Of course, Erik’s warnings aren’t totally paranoid, either. Plenty of people want to do Hanna harm; it just so happens that she’s more adept in that realm than her numerous assailants. Wright loads Hanna with subtext and layers it with emotional thematics, but he never loses sight of his film’s heritage and therefore keeps the pace brisk and the action sequences tight. Interestingly, Wright aims for an economy of action, taking great care in where and when he inserts fight scenes so as to ensure that each one occurs organically within the structure of the movie. He’s not portraying action for action’s sake, but to drive the narrative forward.
Frankly, there’s something truly exciting about watching someone with Wright’s artistic inclinations handle an action scene. Too often contemporary action films mistake shaky camerawork as a means to an end, hoping that chaotic photography will replace genuine tension in their moments of violence and choreography. Some filmmakers– like Paul Greengrass– know how to make that technique work to their advantage. Most favor letting it do the legwork for them, which rarely works. Wright, however, opts for crisp, steady cinematography over the broken and disrupted visual aesthetic of shaky-cam, yielding refreshingly cogent action beats and a fluid sense of movement in its pugilistic outbursts. For action aficionados and photography geeks, Hanna‘s long uninterrupted tracking shot leading into a subway battle between a slew of government goons and the stoic Bana easily should mark one of 2011’s best.
Hanna‘s a unique creature. Wright’s personal flourishes bestow the film with a singular identity in every strata, an absolute necessity when treading such familiar ground as this. By virtue of his efforts, Hanna stands apart from its roots and only family resemblance can really be claimed in any discussion of its origins; Hanna may be another film about a lost assassin being pursued across the globe, but through a potent cocktail of folkloric enchantment and action poetry, it ends up being much more than the sum of its parts.
Y’know I was impressed with this film and the cast’s performances, but it fell a bit short for me overall as I wasn’t as emotionally involved as I thought I would. I think the action sequences are bad ass and it’s definitely not your run-of-the-mill espionage thriller and Joe Wright proved himself a capable action director.
Really? That’s interesting– I found Hanna’s personal narrative to be pretty captivating, mostly because Ronan gives such a mesmerizing performance but also because the arc is itself pretty compelling. I think the film keeps us at arm’s length, purposefully, but the mileage will vary depending on whether that completely cuts you off from the film or not.
You’re definitely right about the action scenes, though, and maybe that’s the most important takeaway.
I don’t think you have to emotionally involved to enjoy “Hanna” … nice review Andy – quite a special little film.
I still appreciate the film for what it was, I just think I’d have a more lasting impression if it were emotionally engaging. That’s cool that you could enjoy it without feeling much about the character at the end, to each their own.
I tend to agree with both of you. Hanna can just be enjoyed as a solid and artful action movie. For me, Wright and Ronan really pulled me into Hanna’s coming-of-age and fish-out-of-water story, most of all during her time with the traveling family. But I don’t think you have to read it that way to get anything out of it– it’s really just a very well-done action film.
Yes, Andrew – I’m right there with you and Hanna and the family. Their inclusion probably meant more to my enjoyment of the film than I even realized at the time. Their vagabond nature that was so similar yet totally different to Hanna’s fate was beautiful, and the melding of their unit with the atmosphere (yes, the music) charmed me to no end.
“Too often contemporary action films mistake shaky camerawork as a means to an end” – amen to this as well. Shaky cam does not equal “real” all on its own, as so many seem to think it does.
I loved this flick and need to buy it. And – spoiler – it’ll probably be my top pick of 2011.
I’ll be honest– Hanna definitely flirted with my top 15 for a while. I still wonder if it should be on there. I liked it a lot– obviously.
I really think its success can be attributed to the way that Wright couples Hanna’s moments of violence and action with the trippy, almost ethereal moments spent with the traveling family. They not only served as something of a mirror for her, but also as a means of initiating personal growth in her. I like that the interactions with these people serves as more of a developmental catalyst than being chased the globe over by Wiegler and her goon squad.
And yeah, the fact that Wright is bold enough to shoot action his way instead of doing what everyone else is doing is great. Not that Wright’s reinvented the action scene here, but he’s definitely made action that’s unequivocally got his stamp on it. That scene with Bana in the underpass is amazing.
Modest, slightly artsy action-thriller. I’m not quite sure it works completely for me. Hanna emotional journey isn’t explored enough to be fully compelling, I would have liked the movie to spend more effort focusing on her being a child who has never had a childhood but suddenly gets the opportunity to. Instead, she is just on the run the entire time.
I think Hanna is a chase/espionage/action picture first, though, which is why there’s less time spent on her realizing the childhood she didn’t get growing up with Erik in Finland. I don’t know if I disagree that the film could have used a little more time on the emotional stuff, but in all of the time she spends with the family (which is pretty ample) I think Wright finds the proper balance. After all, he also has to manage Erik’s and Wiegler’s respective arcs, too.
I just wish that as many people saw this as they did Kick-Ass and Salt.
I’m disappointed but not especially surprised that this didn’t find itself a big audience in theaters; it’s very much European and very much “artsy” in a way that probably won’t connect with most o the mainstream.
But at least people like us can enjoy it!
Pingback: Review: Haywire, 2012, dir. Steven Soderbergh « A Constant Visual Feast