Review : The Courier (2021)
Watching the way that Marvel Studios has engulfed the world of cinema has been interesting to say the least, with the strangest aspect of all being the seeming endless reach the studio has in terms of casting. The fraternity of award-winning blockbuster actors and actresses that have joined the fold is stunning, and as the property list expands, the list of holdouts gets shorter and shorter. With Doctor Strange standing as one of my favorite characters, for example, my viewing of Benedict Cumberbatch has become skewed... I know that he had a very successful career prior to the Doctor Strange film, including being cast as the iconic Sherlock Holmes, but I was largely unaware of him, which makes my experience of his post-Marvel career flipped from the norm. Maybe that’s why I jumped at the opportunity to check out The Courier, as it would give me a chance to see a different side of Cumberbatch as an actor.
In the wake of World War II, the nuclear threat was a very real thing, and The Courier (in my estimation) manages to capture the spirit of the tension that existed between the U.S.S.R. and the United States of America during the pre-Cold War era to a tee. Via news footage, recreations of key events and press conferences, we are drawn a clear timeline of where were are in the midst of the Cuban Missile Crisis, but not to a point that we lose focus on the specific drama surrounding Greville Wynne and Oleg Penkovsky. As an American, I am used to seeing these events through the lens of John F. Kennedy and the American perspective, so having this view shifted to that of a Russian whistleblower aided by a British businessman makes the harrowing story instantly much more refreshing, with our connection to this set of events being similar to that of Emily Donovan’s CIA presence. Most important of all, the film does a great job of making sure the audience is clearly aware of just how high the stakes are, and how serious the punishment would be for those caught taking part in the actions presented.
As important as the historical aspect of this film is, where it really comes to life is in the realm of espionage. It is nearly impossible to not feel the same weight of secrecy that Greville Wynne is burdened with, especially in light of the fact that the repercussions for error ring on a world-threatening level. Even the most hardened agents find jobs like these difficult, and without being heavy-handed, the film shows how devastating the impact is on the psyche for an amateur involved in such drastic operations. The ripple effect that fans out and impacts his relationship with his wife, his family dynamic and his personal disposition is also handled with great care, further tightening the screws on our emotional connection to Wynne. When the pressure gets extremely high, the film appropriately manages to communicate the extreme levels of paranoia that Wynne and Penkovsky existed within, while also showing how monumental a task it was to act normal in the face of such paranoia. When everything comes to a head via the third act prison scenes, one must question their humanity if they don’t feel these sequences in their gut.
The dark and shadowy world of espionage is brought to life by way of a masterful mixture of high contrast, low light photography that infuses a deeply unsettling mood into the film. The majority of the film is a mostly straight-forward affair in terms of cinematography, with framing of key events and characters sitting in the position of importance, but when the film does choose to exude showmanship in this realm, the crane moves, long lenses, variable focus depth and expressionist chiaroscuro employed pop with great force. The editing has a purposeful thrust that is implemented in a very subdued manner in spite of its brilliance and confident strength. The period costuming is all incredibly believable across the board, be it businessman, state employees, military figures or even civilians. The mostly traditional symphonic score is boosted by touches of Soviet-influenced portions that heighten the overall experience of the film.
I may be jumping out on a limb here, but I’d be willing to predict that Benedict Cumberbatch may be receiving some nominations this upcoming award season for digging deep into his dramatic bag, showing very believable versions of fear, deceptive belief, paranoia and despair with equal measure. Merab Ninidze also digs deep into the paranoia as a man burdened by world-breaking secrets, and he offsets it with a pure unconditional love for his family that makes his third act extremely powerful. Rachel Bronsnahan brings an interesting G-Man energy to her role while also realizing that her role requires her to have a large presence in measured appearances, resulting in dignified stances supported by genuine empathy. Jessie Buckley gives a seemingly reserved performance that plays as understated in the wake of events presented, but when the infidelity her character faced in the past is put on the table, it shifts her tone to one of a cautious woman questioning her capacity to love in the face of secrecy. Kirill Pirogov is wonderfully menacing in his coiled snakelike approach to being a high ranking KGB officer who gleefully brandishes his ability to capture, torture and kill like a poorly concealed weapon. Performances by Angus Wright, Željko Ivanek, Anton Lesser, Maria Mironova and Vladimir Chprikov also stand out.
Of all the films I’ve seen so far from 2021, this is the first that I could see garnering some awards season buzz for its technical aspects, and perhaps even a nomination for Benedict Cumberbatch for Best Actor. Regardless of whether or not this film is adorned with awards, it is a top tier historical drama, and certainly one worth seeking out. At some point in the future, I hope to see this on the big screen, as I am sure it will only enhance the experience.
