Sparrows are said to be social creatures. They live in colonies, flocks with others. In addition, sparrows are primarily carnivorous by nature i.e. they are meat eaters. While novelist Jason Matthews, a former Central Intelligence Agency operative, came up with the title RED SPARROW, it’s director Francis Lawrence who seems to be taking the most joy in connecting the “social” interactions and carnivorous aspects of the bird to the lead of the story.
There are times where the body can be a platform for that which is beautiful and grotesque. This can most notably be seen in the films of David Cronenberg. Lawrence and cinematographer Jo Willems (who worked together on the last few HUNGER GAMES films) begin by presenting this theme in Grand Guignol fashion with a beautifully staged turned tragically horrific ballet. And that’s just the beginning, just you wait. From there, the story frequently portrays the body as both seductive and as a piece of meat that you can slice, beat, and break down so that it’s as tender as the butcher would like it.
The Sparrows (supposedly based on a real organization) are a specially trained class of young Russian Intelligence agents who are taught to use their body as a weapon – in more ways than one if you catch my drift. They mix seamlessly among the masses, just like the patterns of the bird of the same name. From there, they can draw a person in close and feed when necessary. Not literally feed, but get what they want from their prey so that they can then fly back to the nest with the intel from their mission.
Dominika (Jennifer Lawrence) is the Russian’s newest recruit. After she’s forced into the academy out of financial necessity to care for her ailing mother and by a little bit of coercion from her uncle, she becomes involved in a case revolving around a Russian double agent and American CIA operative, Nate Nash (Joel Edgerton).
If this sounds a bit like a John le Carré novel, you wouldn’t be totally off base. Unlike that writer’s panache for making even the dullest of government paper-pushers somewhat intriguing, Justin Haythe’s screenplay fails to lend any sense of intrigue or emotion to what should be fascinating characters. Every pawn in this often laborious chess match comes off as cold and wooden, leading to a rather one-note mood. That is until you’re suddenly jolted to life by abrasive and graphic imagery.
The first hour is very sensational and quite risqué in parts, especially given such a high-profile actress in the lead. The last half doesn’t quite have the same punch as it slips into a steady rhythm. While I wasn’t clutching my pearls, the brutal violence involving wires and knives as well as the shocking nudity and depictions of sexual assault (there is more than one instance of this) will leave some wishing for more spy drama escapism.
If you can accept the brutal reality of this world, RED SPARROW is actually very artfully done. The cinematography is absolutely captivating and James Newton Howard’s score is quite beautiful as a moody set of pieces that properly completes the puzzle. Fans of espionage tales will eat up the scenery and the globe-trotting exploits. But once again, all of these compliments reflect the surface level of the film.
Like many previous cinematic assassins who carry a burden or weight so too does Dominika. Her ailing mother is presented as the catalyst for taking on her new profession. While Lawrence’s fearless performance is admirable, she’s stuck with portraying a character that seems almost too in control of her emotions. RED SPARROW is structured and wound up so tightly around this idea of power and control in intimate situations, and in the process, it has pushed the audience away by focusing only on the body and not allowing us to explore what’s going on inside.
Overall score: 3 out of 5
RED SPARROW opens in theaters March 2nd
