20th Century Fox, CIA, Cinema, erotica, espionage, Film, film critic, film review, Francis Lawrence, intelligence, Jennifer Lawrence, Jeremy Irons, Joel Edgerton, movie, Movie Review, R.L. Terry, Red Sparrow, review, Russia, spy, Suspense, thriller, United States
Intense. Riveting. Spine-tingling, A masterful spy thriller crafted in a classical fashion with sex appeal. Red Sparrow will harness your full attention from the opening. Directed by Francis Lawrence, this spy movie is the level of excitement that 2015’s Bridge of Spies wished it was. Whereas many espionage movies fail to develop a plot that keeps you guessing from beginning to end–allowing you to feel like a covert operative or detective–this film delivers a mesmerizing story filled with intriguing characters and close calls. In many ways, this film contains elements that could be likened to a Hitchcockian suspense thriller with influences from Billy Wilder and David Fincher. Jennifer Lawrence displays an uncanny performance that truly shows the versatility of the Oscar-winning actress. With tensions rising between the US and Russia in real life, this films comes at a perfect time because we may find ourselves in a cold war that’s reminiscent of the latter part of the 20th century. Not for those who are weak in the stomach, this film contains cringy visceral horror that will get under your skin. Without the need to rely on science-fiction gadgetry to carry the story, this film provides well-developed characters and an intriguing plot that’s filled with twists and turns.
Prima Bolshoi Ballet ballerina Dominika Egorova (Jennifer Lawrence) is faced with a bleak and uncertain future following a severe career-ending injury while on stage performing. Her high-ranking uncle persuades her to attend Sparrow School: an institution that trains seductive spies in order to pry information from targets by using extreme sensuality. Sparrows turn their minds and bodies into weapons for the state. Being determined to remain special, Dominika completes the sadistic training more quickly than the other students and is recruited for a covert assignment to track and report on an American CIA operative (Joel Edgerton) who Russia feels will lead them to the mole within their own ranks.
The beautiful opening of Red Sparrow is abruptly ended when Dominika suffers a horrific injury that instantly ends her ballet career. This acutely intense moment will cut you directly to the bone–you will undoubtedly wince or cringe, feel the break in your own legs. This is but a taste of what is to come throughout the movie. In an exquisite fashion, the gorgeous dance at the opening is juxtaposed against the alleged drug deal gone bad. Paralleling one another, the event that unfolds concurrently enable the plot to get a quickly paced fantastic start out the gate. Unfortunately, this excellent start does lead into a slower paced latter half of Act I. However, there is important background information that is revealed during Act I that foreshadows and sets up the remainder of the turning points in the plot. You will also notice the use of the color red in many places during the movie. Analyzing the shades of, and placement of the crimson hue has the potential to generate conversations between cinephiles.
The color red is not the only symbol in the movie that can be analyzed; there is a theme of your body belonging to the state. Essentially, this can be read as a commentary on celebrity. As a prima ballerina, Dominika’s body was weaponized for the stage and figuratively belonged to the Bolshoi and by extension to the public. Much in the same way her Sparrow weaponized body literally belongs to The State. It’s her body, but the Bolshoi and The State determine her career. But she is determined to not allow herself to become a commodity that can be abandoned, traded, or punished. This can be said about conventional celebrities and the public. In a manner of speaking, the public decides whether or not you are worth seeing on screen and how you should behave. Back during the days of the Studio System, this was a big problem because the Studio controlled your image, who you dated, slept with, when/if you had kids, your marriage, and more. There was mass exploitation in that system, and one of the reasons why it was ended. The empowering message of rebelling against The State, who is determined to own you and your body, can be witnessed through the covert actions of Dominika.
In the grand Hitchcockian fashion, there is a lot of suspense that increases tension but does not always provide a release. Though Hitch would have handled the level and pacing of the suspense more perfectly, you can read his famous bomb theory in Red Sparrow. Hitchcock knew how to take a two-dimensional situation and find a third-dimensional approach to impress the audiences and hold firm their attention. And to the film’s credit, there are a few times that the level of suspense coupled with the symphonic score channels Hitch. Unlike many spy movies that rely too heavily on a love story, the film brilliantly leaves you wondering whether or not Lawrence and Edgerton are in love or rather it is a facade employed in order to extract vital information for their respective allegiances. The level of romance and eroticism is just enough to add the sex-appeal to the relationship without the movie becoming about the romance between two individuals who serve two opposing countries.
Not for the faint of heart, there are some incredibly intense moments in the film that might make you queasy in the stomach. But the movie chooses to place more emphasis on the action, plot, and characters more so than that which threatens your eye. It’s certainly a new breed of spy movie, but it’s one that is incredibly interesting and will hold your attention for the more than 2hr runtime.