When we hear the term Spy Movie, there’s instantly a flood of images that flash in our minds that recalls what that genre could entail. During Black Bag, one dinner party ends with a stabbing, and then later, a similar gathering ends with a gun going off. Kind of obscure occasions for some violence to take place, but director Steven Soderbergh isn’t interested in making the typical spy movie. Instead, if you’re familiar with the director’s filmography, Black Bag suppresses its action movie genre conventions and, in its place, focuses on a story much more cerebral and sexually charged. In line with Soderbergh’s previous works – most notably Sex, Lies, and Videotape (1989).
For Soderbergh’s characters often traverse the spectrum of being somewhat liberated in their sexuality, yet also appearing strangely unhappy and suppressed. Often, due to some missing ingredient in their current life or a mental block they haven’t passed yet. But the director’s ingenuity shows itself when he blends that very human predicament with the genre trappings of a covert investigation into a possible betrayal within Britain’s secret intelligence. George Woodhouse (Michael Fassbender) is first alerted to the treasonous act, informed of a leak of a powerful software program. George is told that the leaker is one of many possible suspects, all of whom he has a personal relationship to. Thus, George is tasked with spearheading the investigation, one in which he must leverage his personal bonds for access to what the possible suspect might know. Complicating matters, one of the suspects is Kathryn (Cate Blanchett), George’s fellow MI6 colleague – and his wife.
Infidelity becomes the dual threat, both to one’s significant other as well as to their country. When Kathryn is interrogated by her therapist and peer, Zoe (Naomie Harris), Kathryn’s loyalty to her marriage becomes the subject, but the underlying subtext also hints at the loyalty she has to her country. Thus, Soderbergh is mixing both predicaments, analyzing the similarities in insecurity and paranoia. This heightens the drama in the conflict as not only do the characters struggle to trust their peers on professional grounds, but said peers are also friends and lovers.
Despite its 94-minute runtime, the film is a slow-paced psychological drama. Much of the action takes place via carefully constructed espionage, as characters gather intel or attempt to prevent potentially deadly attacks. The rest of the ‘action’ is the conversations themselves, focusing primarily on the characters’ flaws and carnal interests. This makes Black Bag not just an appealing actor’s movie, since it’s their monologues and facial expressions that do so much of the heavy lifting here, but one that rewards viewers with a more intellectual story where you need to read between the lines to see the characters’ complex psychology. However, there are a few occasions where these discussions go on a bit too long, sometimes belaboring the point in order for the film to indulge itself in monologue. They are interesting conversations, yet sometimes less is more, and some of these interactions would be better off by shaving a couple minutes.
While Fassbender is the top name on the marquee, the actual screentime devoted makes Black Bag look like an ensemble cast. Tom Burke plays an oafish wanker well, occupying the role of the foil and one of dubious moral fiber. Harris has the unenviable task of having to face-off eye to eye against a star like Blanchett, a test that the former is mostly successful at with not only holding her own but establishing an intelligent, sympathetic character. Fassbender doesn’t really have a showy part here; he’s mostly all business and often appears emotionally detached while clinically locked in. His performance is alarmingly focused, showcasing an emotionally compromised man who won’t let that get in the way of his mission.
His dynamic with Blanchett is fun to track, for while he wears worry and stress on his face, Blanchett is seemingly none the wiser to his investigation, and thus lays it on thick with her playful energy and her inability to hide her attraction to her husband. It’s amusing given the stakes he’s going through – meanwhile, Blanchett seems horny in every scene she’s shares with him. Much of the tone of the film is defined by her energy and demeanor, I don’t believe any actor here is having as much fun as her portrayal of Kathryn. Scratch that, I know Tom Burke is having too much fun playing a scumbag.
Black Bag itself is a slick, engaging thriller that raises questions and opens itself up to thoughtful reflection. The cinematography is perhaps the best work the production has to offer, establishing a moody piece that knows how to photograph actors towards their most elegant form, while capturing the many vistas of this British drama without going overboard with grand shots. After all, the movie’s aim is to be a low-key spy thriller, as opposed to something bigger. Steven Soderbergh is a filmmaker who enjoys the depths of deep conversations, as well as the finer details of the filmmaking process. I have no doubt that he was equally giddy for, say, the sound design of this movie as he was with any other department. In fact, it’s one of the only movies where I can recall a late-night bedroom conversation between husband and wife, and my attention is drawn to the sound because the mere shifting in bed between characters elicits an abnormally crisp noise.
Which is to illustrate: this is a director that really loves movies, all aspects of them, and there’s seemingly no genre he won’t travel to. Black Bag may not be his best; it’s a workmanlike, plot-heavy film that adequately pays off on its setups, although I doubt many will leave the theater wholly blown away. But it’s also a movie that sets up an intriguing story, and it is only interested in that and seeing that story to its conclusion. No outside ambition to be something beyond itself – which, in this context, is good. It’s a movie that wants nothing more than for you to have a good time watching, and in most cases, this movie will be right.
