Francis Lawrence redirects Jennifer Lawrence , having done it in the last three installments of The Hunger Games, in Red Sparrow, a tape based on the bestselling spy of the same name published by Jason Matthews in 2013. Former CIA agent With 33 years of experience and a large number of operations in different parts of the globe, the author has captured an attractive trilogy, of which “Red Sparrow” is the first volume, much of what he knows about this secret and hermetic world. lights very different from the James Bond shimmering and the violent and improbable spectacularity of tapes like the recent Atomic, The Tourist, or Salt. The freemovies123 rather evokes tapes more admissible court as the spy who emerged from the cold, based on a work by John Le Carré, a former spy, or tapes based on the work of other famous authors with a past in that field as Graham Greene or Somerset Maugham; it also contains some reminiscence of the Hitchcockian films, like Cortina torn. In this regard, even the music reaches to have some passages sent to one of the favorite composers of the English director: Bernard Herrmann.
The plot, which includes a love affair between a Russian spy (Lawrence) and another North American (Joel Edgerton), becomes unusual when developing an entourage that does not differ much from the one existing in Cold War times with everything and taking place in our modern days, with mobiles and computers. Hence, it has surprised many certain sequence in which it is of vital importance an information on a missile collected in floppy disks of 3 ¼, a long obsolete support.
It seems that the film is presented as the spearhead of a series of films in which again will abound in a black and desolate image of Russia – an approach in fact nothing original. The film presents a Russian state perhaps exaggeratedly overwhelming – your body belongs to the state, they will tell Lawrence – that uses its population as puppets subject to their plans, devoid of humanity and scruples, and capable of the greatest atrocities, which can be assumed It will not be well received in certain spheres, especially when, although without naming it at any time, the current Russian president is well present in the talks of dispatching the film.
Jennifer Lawrence, in an excellent and different work by heartily human and vulnerable, plays Dominika Egorova, a prominent Moscow dancer who will suffer professional betrayal and will be forced to act as a spy of the state to find out the identity of a mole who is passing information to the Americans. Everything indicates that Nathaniel Nash (Edgerton), an American spy, knows who this man is. Without any scruple, Dominika’s uncle, Vanya Egorov (Matthias Schoenaerts), forces him to try to seduce Nash to get the name under penalty of leaving his sick mother without a pension or a house (privileges granted when a dancer), and she subjects herself to the possibility of being eliminated.
The film presents a supposedly curious aspect of Russian espionage, this is the preparation of the so-called “sparrows” in schools to that effect, where in a pseudocarceral regime the students (although also students) must get rid of all prejudice and personal dignity to become machines of seduction to obtain sensitive information from the set objectives. According to Francis Lawrence himself, it is a training center with a certain real base, and he even adds that in the 1960s something similar was tried by the CIA, which did not work given the scruples and moral weight of the student body.
The fact is that among the sequences that reflect the proceeding of such a school, directed with a firm hand by Charlotte Rampling, there is some of the Movies123 most daring that Jennifer Lawrence has ever shot. It is not a very action-oriented film, since a large part of the footage is rather developing an increasing tension full of dialogues and some really explicit and hard torture sequences. Its greatest asset is in the palpable internal suffering endured by Dominika, perceptibly close to her helpless mother, and in the deployment of intelligence that she is forced to develop in order to draw threats and abuses from her superiors, under the certain danger of her own survival in the middle of a diabolical game in which, as the canon commands, ambiguity reigns permanently in people and appearances.
The plot ripples the curl in a dizzying way, and is full of incredible twists that will test the viewer’s expertise to understand all its nooks and crannies, which at the same time guarantees a couple of electrifying hours that completely absorb.
Made with a sober and elegant tone, also in the staging, they also bring specific weight – in addition to Edgerton in a character also vulnerable -, great veterans such as Charlotte Rampling, Jeremy Irons, and Ciaran Hinds, to which is added the always excellent Mary-Louise Parker in a unique and memorable sequence.