The movie opens with a young girl in the Arctic tundra stalking an elk (or was it caribou?). She nabs her prey only to then be attacked by an older man, whereby an fantastic fight sequence ensues. Of course, we learn this older man is dear-old “Papa” and we begin to wonder what kind of home life this child leads.
Well, it’s one of languages, and encyclopedic knowledge, and living off the land, and mastery of both martial arts and any object you can get your hands on to kill another human being.
Hanna is on lam, born on the lam actually, and her home life has been crafted by Papa to prepare her for her enemies because Hanna, as we come to discover, is a highly prized asset by a certain American spy-outfit. Hanna was genetically altered as an embryo in a reverse-twist on the Bionic Woman, where Hanna wasn’t re-built as a super-human hybrid but constructed as one.
Long story short: Hanna ends up back on the radar where CIA baddie, Marissa Veigerly, a link to Hanna’s conception, is trying to track her down. Hanna must realize the truth of her beginnings and protect herself from those who would destroy her.
So what does it bring to the table? There’s your usual Spy-Fi stuff about experimental science, assassins, and rogue agents chasing each other around the globe, and while I thought this movie would go down the path of nepotism (a subject I loathe: supposed inherited greatness), it actually brings up a rather interesting debate on nature versus nurture.
Sure, Hanna is genetic engineering marvel. She was created to be great, stellar genetic material that also makes her a liability, but the irony of the movie is that it is only by relentess training and realizing her true and full potential that she can protect herself. Hence, growing up isolated in the woods in the Arctic circle, learning as many languages as she can master, and becoming the ultimate survivalist.
But the fly in the ointment is actually two-flies: one, Hanna’s isolation makes her susceptible to over-stimulation where a TV, a fan, and a light switch is enough to drive her bonkers; and two, Hanna is an adolescent girl with enough pubescent hormones to power a small city.
There’s no resolution to Hanna. I rather enjoyed that as I don’t care much for pat endings. But two things I have found really fascinating about this film: the first, the director, is re-knowned for English romance films; and two, the that in an all-United-Kingdom-and-Commonwealth acting troupe, the baddie, Marissa, played by Cate Blanchett, has a Southern accent, thus keeping alive a tradition where Americans represent the baddies as Brits but the Brits represent our American-evilness as somehow being Southern.