Red Joan John Ordway Red Joan 2018 Directed by Trevor Nunn Distributed by Embankment Films https://www.embankmentfilms.com/portfolio_page/red-joan/ 100 minutes A grandmotherly British woman prunes the plants in her garden and then steps back into her tidy semi-detached home—thinking, perhaps, of a cup of tea. She glances at a newspaper on the table, a headline of which announces the death of Sir William Mitchell, a man her age and the former head of the Foreign Office. There is a knock on the door, and a look of anxiety flits across her face. She composes herself, answers the door, and the reason for her fleeting look of terror becomes clear: The doorstep is lined with police officers, who place her under arrest for espionage and lead her to an unmarked car waiting at the curb. These opening scenes set the tone for Red Joan, a film based on Jennie Rooney's 2013 novel that was, in turn, based on the true story of Melita Norwood. It is a film about spies and spying, secrets and betrayals, but not, in any sense of the word, a "spy movie." It is a character study of Joan Stanley—a subtle, nuanced portrait slowly built up from multiple layers of carefully observed detail—and the scenes of 1940s era espionage "tradecraft," though surprisingly numerous and frequently suspenseful, are there to reveal her character, rather than to advance the plot. The "atomic secrets" that Joan, a minor player in Britain's wartime nuclear-bomb research program, funnels to the Soviet Union during and just after World War II are a McGuffin in the classic Hitchcockian sense. It doesn't matter what they are, only that everyone wants them. Red Joan exists in two eras simultaneously: the present, where Joan (played by Judi Dench) is interviewed by a pair of coolly-professional police detectives and interacts with her adult son, a respected barrister; and the past, where Joan (played by Sophie Cookson) goes from a naïve first-year natural-sciences student at Cambridge to a terrified-but-effective Soviet asset. As in Christopher Nolan's Dunkirk (2018), the two stories unfold at different speeds. The "present" events unfold in less than a week of what appears to be 1999 or 2000, the "past" events in slightly more than a decade: from 1938 to 1949. Judi Dench's screen time is nowhere near as great as the advertising for Red Joan implies—the ratio of "past" to "present" scenes is on the order of 70-30—but it is, nonetheless, Dench's film. In her time on screen she plays out a complete character arc, relying (because her lines are, by design, bland and muted) almost entirely on posture, facial expression, and tone of voice. Sophie Cookson, in the flashback scenes, seems at first to be simply be the "naïve young woman who learns painful lessons," but it gradually becomes clear that she is up to something more complex. She shows us Joan—an awkward, naïve, provincial teenager in her first scenes—evolving not just into a strong, confident woman, but into the specific strong, confident woman that Judi Dench is playing. Like Dench, Cookson relies on subtle acting rather than the deliberately low-key dialogue to establish her character, but—unlike Dench—she receives bravura assistance from the film's hairstylists and costume designers, who change her look to subtly underscore her changing personality. Young Joan is neatly but blandly dressed in her prewar scenes at Cambridge, where she stands out because many of her friends are sleekly, flamboyantly stylish. She begins to develop a sense of style during the war years (trading her shapeless knit cap for wide-brimmed hats, for example), and the effect is accentuated because—thanks to rationing and the fact that she works among scientists—everyone around her is a bit dowdy. In her final scenes, revealing new levels of resolve (and ruthlessness) as she blackmails an old Cambridge friend into helping her and her lover flee England, she looks the second coming of Barbara Stanwyck—a perfect reflection of who her character is becoming. [End Page 40] It is central to the...
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