(2018) Biographical Drama (IFC) Judi Dench, Sophie Cookson, Stephen Campbell Moore, Tom Hughes, Laurence Spellman, Tereza Srbova, Ben Miles, Robin Soans, Kevin Fuller, Stephen Boxer, Simon Ludders, Steven Hillman, Ciarán Owens, Phil Langhorne, Stuart Whelan, Freddie Gaminara, Stephen Samson, Paul Kerry, Adrian Wheeler, Lulu Meissner. Directed by Trevor Nunn
Ah, the things we do for love. Sometimes we are moved to do things because of conscience but how many times have we done things we ordinarily wouldn’t or couldn’t do out of love? Most of us can ruefully admit to at least a small list.
Pensioner Joan Stanley (Dench), an octogenarian living in suburban London, spends most of her days fixing herself tea and working in her garden, weather permitting. Her son Patrick (Spellman), a busy lawyer and politician, rarely has time to visit her anymore so when there’s a knock on her door, she’s taken aback. However, it’s not a social visit; it’s MI-5, putting her under arrest for providing nuclear secrets to the Soviets.
Most of the rest of the film proceeds in flashbacks. While a University student, Joan (Cookson) had fallen under the spell of glamorous immigrant Sonya (Srbova) and even more so of Sonya’s smoldering, brooding cousin Leo (Hughes), a not-so-closet communist party member in the 1930s when the Reds were viewed with some distrust at the very least. It isn’t long before the naïve and mousy Joan is in Leo’s bed.
When the Second World War erupts and the Soviet Union becomes our ally, Joan is drafted into an atomic research team headed by Professor Max Davis (Moore). Although Joan is used as little more than a glorified secretary, she is in fact a brilliant physicist whom Max comes to rely on as a problem solver and eventually, on a much more personal level.
When the Americans drop the A-bomb onto Hiroshima and Nagasaki, Joan who knows better than most the consequences of such an act is absolutely horrified. She comes to the realization that these terrible World Wars will continue unless both sides have access to these terrible weapons. When Leo and Sonya come knocking on her door, she is more than willing to answer.
Although (very loosely) based on actual events, this film doesn’t have the air of authenticity that something based on reality has. Far from being a John LeCarre-like spy thriller which I believe it aspires to be, this is more like a soap opera that out of one side of its face decries the marginalization of women and on the other side has them as simple-headed sops who do mad, impetuous things out of love or maybe just lust. Apparently even feminists can be fools for love.
If that sounds a bit catty, it can be forgiven; there’s a hell of a story to be told here and Nunn and company squander it. Worse still, there are some terrific performances by Dench and Cookson that are essentially wasted. Also, let the viewer beware – although Dench is top-lined here, she is limited to a meager amount of screen time; Cookson gets the lion’s share of that.
While there are some terrific moments – young Joan’s confession to Max, Patrick’s repudiation of his mother – that are worth waiting for, for the most part the movie maddeningly doesn’t let us inside the head of Joan. She does things seemingly on whim. She’s not much of a spy; she gets by mainly because, as Sonya wryly puts it, no men would think a woman capable of such deception plus there’s more than a smattering of dumb luck and Joan’s pals willing to take the blame for Joan’s actions.
This isn’t a spy saga as I’ve said; it’s more of a melodrama and a fairly rote one at that. Given the superior cast and the remarkable true story that inspired it, this movie could have been so much more. However, I can’t review that movie, only the ones that Nunn and his colleagues have given us and it’s frankly not one that rises far above mediocrity.
REASONS TO SEE: Dench always delivers the goods. There are some very powerful moments.
REASONS TO AVOID: A bit soapy and/or syrupy in places. Lots of potential here but ultimately the film doesn’t deliver.
FAMILY VALUES: There is some profanity and brief nudity.
TRIVIAL PURSUIT: The movie, as the novel that inspired it, was based on the real life case of Melita Norwood.
CRITICAL MASS: As of 4/27/19: Rotten Tomatoes: 30% positive reviews: Metacritic: 44/100.
COMPARISON SHOPPING: The Theory of Everything
FINAL RATING: 6/10
NEXT: Master Maggie