The last Russian woman of power changed the way the game was played. But in an era of patriarchy she pushed against the status quo while still maintaining a healthy appetite which in many circles. This is what has survived all the rumors oddly enough. In a day and age when Crimea has come under the aspect of the news again in terms of Russian perception as an important port city what Catherine The Great’s dexterity and at times forthrightness reflects in her early Ideas of giving up serfdom are quite forward thinking. While Alexander’s tendency plays into the thrust of his grandmother’s ultimate plan, it is her life and the way she lived it that is dynamic but also fallible. The details of her former husband that met his fate for her to assume the throne is still mysterious but how she governs is not. This is the effective perspective of “Catherine The Great” which both administers her strengths but also her faults.
Helen Mirren, as she has done with many characters over the years, understands the aspect of women in power but also the tricks of ambiguity and antiquity and the problems it creates. As an aging actress this has provided her most telling performance perhaps since “The Queen”. She has had fun playing others but the aspect of loss and gain here but also a more mature relationship speaks to the essence of trust versus jealousy. This is something that completed encompasses her relationship with Potemkin whom she first becomes enamored with many years earlier as the mini-series seems to span a good 15-20 years.
Jason Clarke gives an interesting portrayal of Potemkin. The problem is that as the younger version where his young features currently still show, the character never fully vanishes. It is only as he grows more grizzled halfway through the miniseries that his characterization truly becomes rich. The mustache and gravelly deliver become more natural. There is a hurt but also a love in his devotion to Catherine despite his want to be on the battlefield versus being at the palace with Catherine. In a short span when he brings Crimea to her feet and she witnesses it as her domain, it becomes a very intimate story wide in its scope but personal in its impact.
There are other supporting characters that key into the proceedings. Richard Roxburgh plays one of her early lovers who basically pushes against her rule. He disappears in a haze which is never fully specific. Catherine’s Minister Of War Olaf who helped put her in power is an interesting dichotomy as his loyalty shifts and the story moves forward. The pathetic part of the story is Catherine’s son Paul who simply reminds Catherine of the err of his father’s ways, not necessarily that he would be a bad leader but Catherine senses something off in him, that gut instinct that tells her something her advisers can’t. The epilogue proves that.
Politics aside “Catherine The Great” is also an interesting diatribe in showing the essence of sexuality and the reality of power without pretense. One of the aspects that does reflect is the absence of Russian accents or even Russian actors. Granted this is a miniseries made by Sky and BBC in congruence with HBO but unless one was told it was Russia and Catherine The Great, it could quite frankly be any monarchy save for the performances of Mirren and Clarke.
“Catherine The Great” has the lushness and texture of most HBO series with a leading lady destined to receive said due praises for her work. But at its heart, it is a love story, power ratcheting though that it may be, that is engaging but also exceptional to the status quo that human nature does not change.
After “Valerian”, director Luc Besson has been balancing the different essences of life with his company in financial trouble for a short time. Personally he was being attacked because of supposed conduct. And a film that was supposed to be his big return to large film making simply tanked. In personification, “Valerian” wasn’t bad. It was perfectly on par with “The Fifth Element” but made in a different time. “Lucy” right before had shown with the right actress despite a slightly incomplete script that the visceral nature of the director was still there. The biggest issue, not to get too industry about the failure of “Valerian”, is that in the US, STX Films pretty much released it cold with no anticipation. And it failed. With his new film “Anna”, the trailer was phenomenal building up the aspect of a new action girl in Sascha Luss. Besson, despite anything, has the ability to create wonderfully strong female characters while still engaging in the beauty and the world of modeling he seems to love so much. The trailer simply teased one major scene which in retrospect is interestingly enough a lipnus test. “Anna” approaches what “Red Sparrow”tried to do but with a blank canvas and not Jennifer Lawrence. Within this construct, you have no preconceived notions of who Anna is because that is not her name. This is why you can buy more into the idea of it. Now while much of the movie tries to play to certain spy quotients, it is the nature of freedom that rings true even as the film is set right after the fall of the Soviet Union per se. The KGB essence here is interestingly done both in its recruiting but also the showing of Russia right after that fall. It doesn’t go easy on American intelligence either. It almost makes the point that you are under the thumb of power no matter where you are.
Sascha Luss balances this nicely as “Anna” but it helps that she has a couple actors working against her, who despite that their characters are a bit thin and sometimes more of sexual playthings to Anna than actual connections is interesting. It works because it is a reversal of what was the norm 20 years ago. Cillian Murphy plays one of his more mainstream roles and shows a level of charm and cool we haven’t seen on screen from him in awhile. Luke Evans, right off “The Alienist”, creates the right amount of patriotism while understanding this girl he recruited. Anna’s girlfriend in the modeling world creates the right amount of offset in social representation to show that identity is simply a construct depending what you want in life. It is not a criticism on anything at times with either sex except a certain degree of survival and understanding. Helen Mirren has the most interesting role in that of KGB overseer. This is the most hidden she has been with a sense of cunning, humor and drama that sometimes Besson can get out of his actors. “Red” for Mirren was play. Here she is doing some magnified work. Besson still has it. The action sequences are visceral. He can do it with a smaller amount of money but he likes the toys of big film production. The film is fun to watch, plotted decently, stylized cool (watch out for an INXS song montage) and, while not Besson’s best, far from his worse and continually shows his focus for talent. Initially this reviewer thought this might be a retooling or telling of “Matilda”, the child Natalie Portman played in Besson’s “The Professional” as a grown up assassin. A key plot turn in the movie has Sascha wearing a black bob that has harkings back to that character. Alas “Anna” will probably be lost since, for likely reasons, Summit/Lionsgate released it cold. A movie is a movie, even when it is not….that doesn’t make this one any less entertaining.