Wednesday, August 02, 2017
From the first moments of Atomic Blonde we are invited to consider the physical presence of Lorraine Broughton (Charlize Theron), a British intelligence agent, as she recovers from what appears to be a severe beating. In considering Broughton we are also of course considering the presence of Charlize Theron as action star, Oscar-winning actor, and sex symbol. If "Charlize Doing Things" could be a genre, then Atomic Blonde would be its peak. Atomic Blonde has a plot - a stapled together contrivance of familiar tropes including a stolen list of agents' names and an errant station chief - but its chief pleasure is the sheer force of personality that Theron brings to the film. Broughton is called in by her superior (Toby Jones) to recount the details of an operation gone bad in Berlin. (We're in 1989, just before the Wall came down.) Before we're even out of the framing scenes Broughton has managed to insult the CIA officer (John Goodman) in the room and to establish that she knows her boss has his own agenda. The story that Lorraine tells is about a mission to retrieve stolen information, but before she has been on the ground an hour she has already survived one assassination attempt and met eccentric Berlin station chief David Percival (James McAvoy). Atomic Blonde was directed by David Leitch, one of the filmmakers behind the first John Wick film, and it's with the action sequences like that initial attempt on Broughton's life that Leitch gives this film its personality. Leitch favors long takes in which various assailants run at Broughton or otherwise attack her, and the mostly hand-to-hand combat is visceral and non-stylized to an amazing degree.
Late in the story Broughton must protect a source (Eddie Marsan) and deliver him and his information safely to the West. Her plans go bad, and the resulting fight on a staircase and through an apartment is an apparent single take that leaves Broughton barely able to stand. It's an all-time sequence that combines technical skill and stamina, and the moment where Broughton tries to stand and immediately slides back down is the moment that Atomic Blonde gets to where it wants to go. There's more of course, Broughton escapes after a car chase and the rest of the film is a series of reversals and recriminations. I didn't care as much about the late plot movement (including the involvement of a French agent played by Sofia Boutella) because I couldn't stop thinking about the immediacy of what had come before. Theron's physicality and Leitch's talent for staging actually transcend the genre mechanics and create a kind of pure action cinema that's worth watching on its own. If Lorraine Broughton comes back in a sequel I'd love to see a better script, but the character shouldn't change a thing.