Hanna

Refreshingly and somewhat misleadingly, Focus Features decided to release this film at the very start of the Summer Blockbuster Season. I had settled myself into the notion that the next few months would find me becoming ever more disillusioned with the studio system and grow more and more tired of CG effects. Which is fine by me; you have to take the bad with the good as they say. The last thing I was expecting was a film like this. For all of the things I had resigned myself to that I would not see on screens for the next three to four months, I found suddenly alive on screen in front of me. This was the breath of fresh air I didn't know I needed and far and away, the most original film I have seen this year so far. That it also packs in great action, stunning performances and great directing only proves that when a film like this comes along, it must be savoured. I knew the plot of "Hanna" and knew that director Joe Wright was stepping out of his comfort zone of period melodramas, along with it's very interesting cast. Somewhat unfairly though, I did not really register the film on my radar. This is such a shame, as it is a fantastic and ready made cult classic, just waiting to take on extra resonance in the coming years. This is a film that will get better the more it is watched I imagine. For all the things that the film had going against it, so too does it's titular hero. Hanna was the underdog everybody underestimated.

Events kick off in the wilderness of Finland. We are introduced to our heroine and her father Eric (Eric Bana) as she is rigorously trained as a killing machine. Completely shut off from the world, Hanna is someone who knows so much and so little all at once. Everything about the world she knows has only been experienced or read in a book. And yet, this is one who knows how to hit a small animal from miles away with a handgun and can speak over a dozen languages. As Hanna suddenly finds herself out in the world, chased by Cate Blanchetts wonderfully evil and corrupt CIA agent Marissa Wiegler, she must learn to adapt to her new surroundings. Along the way she meets a travelling and liberal British family who take her in. For as much as Hanna knows how to take care of herself, she cannot look after herself. It is in these scenes that the film truly reveals itself. Beginning as a cold and very odd Jason Bourne meets Fairytale of sorts, the film soon softens as our understanding of Hanna, and her to the world grows. Wright makes this progression wonderfully; the many varied locations throughout the film could serve as an insight into what our heroine is feeling at that moment. As Hanna's personality thaws, so too does her background; moving from the wastes of Finland to the warm and crowded streets of Morocco and so forth. Throughout, Wright manages to mix subtle and sometimes humorous character detail with fantastic action. The film features two of the most heart stopping action scenes to be beaten this year; in one Hanna must elude those on her trail at a ship container factory and in another, Eric Bana faces off with agents in a stunning six minute tracking shot. As our lead the sixteen year old Ronan does an incredible job. With her snow white locks, pale face and piercing blue eyes, she is a ready made icon. She handles Hanna's uncertainty and growing interest in the real world excellently while still believably beating the crap out of anyone who gets in her way. Bana provides steely reserve and strength and Blanchett is the 'boo-hiss' evil queen, of the fairytale. However, most impressive of all is Tom Hollander as the camp, yet psychopathic Isaacs whom Wiegler hires to go after Hanna. With his two skin head neo nazi subordinates, dressed in tight 70's tennis shorts and peroxide blonde hair, he somehow manages to cut a very imposing figure.

Wright films all the action in a very European manner; this is not some glossy American action free for all extravaganza as it might have been. Events and pacing are measured accordingly to what the story needs. Some might bemoan the slow mid section, but it is here where the film truly worked its wonders for me and brings to mind just what a good job Wright et al did. The film might sound preposterous, but after a few moments alone with Hanna in the wilderness you will know that Wright has a vision for the film and that shines through in every scene. What caught me off guard was that I was not expecting a film to carry any trademark personality or grit, nothing to get my teeth into. Wright takes full advantage of the films idiosyncrasies and turns out something that is part "Run Lola Run", last years "The American" (with a genuine plot it is only fair to point out) and the previously mentioned Bourne films mixed with Hans Christian Andersons best tales. What the interesting thing is, is that it is fruitless to compare the film to many others as it is the rarest of rare: a truly original Summer action film. The action crackles, the music (by The Chemical Brothers no less) pulsates and the bravado of original vision is on full display as Joe Wright officially steps up to the plate, as one of the most interesting directors working today.

Verdict: 8/10

At times both odd and enthralling, director Wright turns in his most accomplished film so far, and the most unconventional action genre mash up you may see all year.

"Hanna" Trailer

Retrospective - 'The Thick Of It / In The Loop' (2005-2010)

Armando Iannucci is quite possibly, Britains funniest man. Having created, written and directed some of the greatest shows on TV, not just in the UK, but in the entire history of the medium, he is a legend. He is responsible for 'The Day Today' (along with the genius of Chris Morris) and the possibly greatest single character ever created, 'Alan Partridge'. Those two shows have influenced almost every single comedy show on British TV since and the fact that he is still doing it right up to this day with 'The Thick Of It', shows his place in comedy history is assured. Yes, as ridiculously exaggerated as this fawning over is, just watch one (if not all) of these shows, and try and tell me different. As a political satirist as seen in 'The Day Today' and 'The Thick Of It', he is second to none. 'The Day Today' is over 16 years old, and yet is still incredibly relevant and original. Political satire by its definition should be current and should aim to puncture the pulse of politics right now if it wants to make an impression. In 1994, 'The Day Today' did this sure, but the fact you can still see it relating back to current news to this very day, shows its legacy. A hilarious lampoon of news programmes, its intention was to show how silly they look by attempting to heighten its own news articles to an almost ridiculous level of sensationalism in order to reflect it back to those original shows; are they that different? Its utter absurdity and surreal vignettes assured its place in classic comedy and it gave birth to the careers of some great British talent. Alan Partridge is known more widely as the career defining moment for both Iannucci and co-writer/creator, Steve Coogan. His influence is widely known and does not need to be trumpeted here, but for anyone who has not before familiarized themselves with Ianucci's work, stop reading and watch all of it now. Yes, thats right, all of it, it really is that essential. It also will bring you up to date for 'The Thick Of It' and how it may possibly, surpass Iannuccis prior achievements.

I am ashamed to say, I did not catch the original airing of the show in 2005, but rather its transition to the big screen last year in the shape of 'In The Loop'. As a fan of not only Iannucci, but head writer Jesse Armstrong (one half of the writing team from Peep Show), I had heard overwhelmingly positive reviews for it. I had heard it was based on a Television Show, but as it did not tie into the plot of that ('In The Loop' is completely stand alone) I eagerly checked it out. The film did not disappoint. It was easily one of the best films of last year and was rewarded for its efforts with an Academy Award nomination for Best Adapted Screenplay last March. For the film, Iannucci widened his scope to include not only British Politicians, but Americans too. And surprise, surprise, we find that the Americans are as prone to disaster as the British are. The film is a completely fictionalized account of the run up to the US invasion of Iraq although, and this may sound odd, but plot isn't that important. It is there and always driving the action yes, but it is not what you take from the film. What you take from the film is the raw attention to detail and stunning observations on the minutiae of political life. As it has been said before elsewhere, this is complete opposite to the glamour and romanticism of politics that 'The West Wing' offered. Those in charge of running the Country are small but pithy people who would stab their best friend in the back as to further their own political careers. The film is, as you may not have noticed by anything I have stated thus far, one of the funniest films you may ever see. Its broad and all encompassing dialogue is some of the most fluidly written you may ever hear and rolls along at such a vitriolic pace, you barely have time to regather the air in your lungs, let alone take all of its shock/grandiose poetry in at once. It initially jars the senses as the film begins as it means to go on; in complete and utter confusion and mayhem, but once you get a hold on it, it becomes quite a pleasure for your ears to hear something so fine tuned and effortlessly drawn from its cast, more of which I will get to momentarily. The film is a instant classic and one that should be watched straight away if not done so already.

The origins of the film lie in the bind Iannucci found himself in when lead actor of the show, Chris Langham was arrested for possessing child pornography in 2007. Quite shocking considering the top class comedy work Langham had been delivering for years. Here it seemed he was finally getting the success he was long overdue as the bungling and almost completely incompetant MP, Hugh Abbot. He was fantastic in his part however with his arrest, Iannucci found himself in trouble with where to take the show. Abbot's abrupt absence in the two Christmas Specials was explained, yet it was obvious a comic foil was necessary to continue in order for the show to work. Knowing he had a good thing, Iannucci decided to keep each character and transport then to a feature length version and name them all differently, except choosing to replace Langham with Tom Hollander as the inept MP. It is a testament to both mens performances and high class of writing involved, that this is not at once jarring. So the film is the perfect gateway into the show, despite it being made right in the middle of its (so far) three season run. With the film acting as the gateway, you are primed and ready for the series.

'The Thick Of It' could easily be better than the film and that is saying something. I have declined from mentioning characters up to this point as that is what propels everything, far more so than the plot. Its wryly observed, fly on the wall look is a colorful, cacophony of useless and very selfish twits. No one is very likable. All of them you love. It makes no apologies for its lack of emotionality. Everything in this world is cold and hard and if you can't stand it, then get out of it. So in no particular order we have Olly, played by Chris Addison, a 'morally bankrupt' special adviser to the MP. He is very shallow and shows no hesitation in manipulating people for what he wants. Glenn played by James Smith, a Senior Adviser to the Minister. He is usually quite good at his job, but his age is the brunt of many jokes from others and is not taken as seriously as he possibly should be. From the most recent season, Chris Langhams absence was explained in a reshuffle and is now replaced by the very inexperienced Nicola Murray played by the excellent Rebecca Front, previous callaborator with Iannucci on the 'The Day Today'. As she is completely new to her job, her constant strain to keep up with everything is one of the things that land her in hot water throughout the season, although she wisely does not try and be a 'Hugh Abbot Mk 2' for season 3. And then we have Malcolm Tucker. A simply stunning Peter Capaldi, he is the shows undeniable drawing point for many. He is the dreaded Director of Communications for the Government. He is essentially a spin doctor for the Prime Minister and serves as his man on the field. He is a ready made classic creation and Capaldi gives him everything he's got. With every filthy obscenity and threat spat out of his mouth, I defy you to not burst your rib cage laughing. No one is safe from his tyrannical reign and everyone lies terrified in his shadow. He is one of the funniest characters ever created on Television.

The cast are amongst the best around. All of the show is written excellently, yet were it not for the entire cast and supporting players, it would not be what it is. Indeed, the cast even get a writing credit, due to their improvisations on set, which surely must almost be as crucial to its off the cuff spontaneity, as its carefully planned writing is. It is all filmed as very realistically. Cameras shake and struggle to catch up with the mayhem going on all around the hapless characters. Its pseudo-documentary style is completely in keeping to its unrestrained and impulsive themes and characters. You simply are moving along the whole time, with nary a second to take it all in, let alone catch your breath for laughing. This is 'classic line, after classic line' and the great cast give it everything they have got. Any show so fouled mouthed as to feature a 'swearing supervisor' must be given the applause it deserves. The rhythm and efficiancy with which each character delivers said expletive is among the most original (and shocking) language used anywhere in the history of the medium.

So yes, I am slightly too enthusiastic and appreciative about this series, but it really should be seen by all.It may be a political satire, but its characters and situations are so ruthlessly hilarious and endearing that despite the ugliness of most of their words and actions, we can't help but fall in love with them all. It is a show that exist with a rare few far above its source material in satire and comedy, and so elegantly performed and written it will surely be remembered for many years to come as another classic hit for Iannucci. Despite its satire trappings, it carries basic human nature and wry observations on humans that should see it in almost 20 years from now, much like 'The Day Today' being as relevant as ever. No matter what the future holds for us, politicians will always be the same shits they always were.


'The Thick Of It' Verdict: 91%
'In The Loop' Verdict: 85%
Iannucci takes the best of both 'The Day Today' and 'Alan Partridge' and delivers another hilarious subversive and foul mouthed observation of politicians. Malcolm Tucker is a hero for the ages and I could fill a whole other blog on the shows many genius and side splittingly hilarious and clever one liners. If you haven't done so already, I urge you to go out and catch up on it before Season 4 begins later in the year.


'The Thick Of It' Trailer: http://www.youtube.com/watch?v=HUxNWrUU1C4

'In The Loop' Trailer: http://www.youtube.com/watch?v=dQrqMkCuHqA