Wer ist hanna hd stream

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Sun, Apr 10, 2011

Spannender Actionthriller über eine junge Auftragskillerin. CIA-Agent Erik Heller (Eric Bana) ist vor vielen Jahren vom Radar verschwunden. In dieser Zeit hat er heimlich seine 16-jährige Tochter Hanna (Saoirse Ronan) zur tödlichen Kampfmaschine ausgebildet. Ihre Mission: CIA-Agentin Marissa Wiegler (Cate Blanchett) zu finden und umzubringen. Diese ist für den Tod von Hannas Mutter verantwortlich. Die vollkommen weltfremde Hanna erwischt vorerst nur eine Doppelgängerin und wird auf ihrer Odyssee quer durch Europa von Wieglers Schergen gejagt.

„Wer ist Hanna?“ - Stream

Der rasante Actionthriller zeigt eine stylisch gefilmte Hetztjagd um den halben Erdball, bei der kaum Zeit zum Luftholen bleibt. In der zweiten Hälfte des Films werden viele bekannte Schauplätze um und in Berlin gezeigt. Das Finale findet im verfallen Spreepark statt, ein ehemaliger Freizeitpark, der schon seit 2002 geschlossen ist.

"Hanna" is basically a strange blend of "The Golden Compass" (2007) and "The Passenger" (1975); with a little "THX 1138" (1971) thrown in for production design and atmospheric purposes.

Had "Hanna" (2011) been promoted for what it was, a relatively low-budget, live-action, PG-13 allegorical fairy tale; with a uniquely quirky performance by Saoirse Ronan, it would be better regarded by the movie going public. Rather than the minimalist promotion and distribution this type of film normally receives, for some reason the distributors decided that it had the potential to make big money.

So they threw almost as much money into marketing as had gone into production, sold the film as an action adventure suspenseful spy story, with another Chloe Moritz type hit girl. They utilized a saturation booking technique normally reserved for their weaker blockbusters. This technique involves a lot of pre-release publicity and then opening it simultaneously in many theaters, with the goal of generating quick profits before bad reviews and word of mouth kill attendance.

The result was a lot of viewers who rightly felt that the film did not live up to its blockbuster billing, and a failure to appreciate the good points of the film. And there are some very good points. Ronan's earnest portrayal of the title character, a juvenile assassin and good daughter, rings true despite being unlike any character in cinema history. Ronan manages to blend a bubbly enthusiasm for the newness of everything she missed growing up away from the world (think of a younger version of the Anne Francis "Alta" character in "Forbidden Planet") with the deadly but "fish-out-of-water" qualities of Arnold Schwarzenegger's "new-to-20th Century-earth" robot in "Terminator 2" (1991). Ronan has effectively played the bubbly stuff before, most notably in "City Of Ember" (2008). In "Hanna" she effortlessly slips back and forth between bubbly wonderment and analytic processing. These contrasting personas are delivered so effectively (and in so many languages) that the overall performance ranks among the best in cinema history.

And credit director Joe Wright with the vision to stage sequences and POV shots that make Hanna small and vulnerable, enough so to evoke a feeling of protectiveness toward her from viewers. Altman's "Kansas City" (1996) comes to mind, in which Jennifer Jason Leigh's tough talking gun moll created a powerful bond of identification with the viewing audience.

The film is a fairy tale and the good vs evil dynamic is more allegorical than precise. Cate Blanchett plays a high level CIA operative who functions as the wicked witch. Basically Snow White's evil queen step-mother masquerading as a cross between the Rosa Klebbs character in "From Russia With Love" (1963) and Nicole Kidman's character in "Golden Compass" (in fact Kidman's "Goldren Compass" character was also named Marisa). She is assisted by the versatile Tom Hollander, a Wright regular (Mr. Collins from "Pride & Prejudice"). Blanchett's Marissa is evil and menacing without the redemption dimensionality of Kidman's "Golden Compass" Marisa. Wright could have had much more fun with Hollander's character, but even so the minion is far more effective than his distaff master.

Wright is not trying to be plausible, if anything the story is more expressionism than realism. This becomes especially obvious late in the film when the action switches to the huge abandoned Spreepark entertainment center in Berlin. The park was closed in 1999 and the decaying fairy tale related rides and attractions are a production designer's dream. These become a key motif of the film, much like the abandoned Salt Air Pavilion in "Carnival of Souls". Also watch for the existential connection between Hanna and Laika, the Soviet dog-in-space; torn from their world to be passengers through a world in which they do not belong.

Bottom line, I am going to recommend the film. But with the advice to watch it for Ronan's performance and for its uniqueness; and to not try to place it into any neat classification.

Then again, what do I know", I'm only a child.

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