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What’s in Steven Soderbergh’s ‘Black Bag’? Sex, lies and high-stakes spying

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In ‘Black Bag,’ directed by Steven Soderbergh, one of his more extraordinary characters takes center stage – a faithful spy named George, portrayed by Michael Fassbender. This film is a gripping thriller that follows George’s mission to identify the traitor within the U.K. government who aims to sell a lethal device in just seven days. With five potential suspects, all part of sexually active counterintelligence pairs, infidelity is commonplace, even before the polygraph tests. However, this movie isn’t about the anticipation of betrayal; instead, it’s an ode to Fassbender’s character, George, who remains unfazed and composed throughout, creating a sense of calm that barely stirs any feelings of suspense, not even when he learns his wife, Kathryn (Cate Blanchett), is the prime suspect. It’s clear that George himself isn’t the one playing both sides because, as everyone emphasizes, he doesn’t stray.

In this film, Soderbergh and screenwriter David Koepp delve into the essence of espionage, featuring elements such as computer screens, disloyal Russian military officers, and deadly weapons with rather obvious names (such as Cerberus). The action includes a single dramatic explosion, but the true spycraft is essentially a backdrop to a tale centered around trust. One might describe it as a blend of “Sex, Lies & Videotape” and gunfights, suggesting that Soderbergh doubts contemporary audiences’ interest in such themes unless there’s potential for violence.

Spy partners aren’t just casual deceivers, they are experts at it. Moreover, secret travel worldwide opens up the possibility for infidelity, and there seems to be a greater expectation of understanding if one does occur. Fidelity was not a priority for James Bond, as his relationships rarely lasted beyond the first date. This theme may have influenced Soderbergh’s decision to cast Pierce Brosnan and Naomie Harris, who played Bond girls in previous films, in this production that explores loyalty as a matter of life or death. In fact, Soderbergh’s spies even discuss their relationships during therapy sessions.

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Actors Cate Blanchett and Michael Fassbender have previously collaborated with director Steven Soderbergh and are eager to revisit his quick, productive playfulness for the project ‘Black Bag.’

During their gathering, George and Kathryn amuseingly invite potential suspects for a dinner seasoned with garlic and a truth-enhancing substance. When asked about the menu, Kathryn inquires, to which George responds with a dry wit, hinting at an evening filled with amusement rather than chana masala. Among the guests are the dynamic duo, James and Zoe (portrayed by Regé-Jean Page and Harris), who excel in their careers but struggle personally, and the chaotic duo, Freddie and Clarissa (Tom Burke and Marisa Abela), a drug-addicted rogue and his naive girlfriend. The latter finds it challenging to date decent civilians due to her job. All guests arrive tense; not only are George and Kathryn professionally formidable, but they are also widely admired as the ideal couple in the office.

To put it another way, it appears that George and Kathryn are quite steady, but they’re more like efficient problem solvers rather than the charismatic duo of Nick and Nora. And when it comes to being unflappable, even among 007s, they certainly hold their ground without a shake or a stir. As for Blanchett, she’s so well-tanned and meticulously groomed that she seems more like a person wearing armor in her undergarments than just an actress. George, on the other hand, carries himself with a stiff upper lip, while Fassbender’s sharp efficiency has caught the attention of not one but two esteemed directors, Soderbergh and Fincher, who have both cast him as ruthless, cold-blooded characters.

The couples have a special code word that hides a secret they must keep hidden from each other. ‘Black bag’ serves as an instant conversation ender, a question avoider, another tool that might unintentionally cause harm. Despite this, George has the authority to access Kathryn’s computer and perform subtle psychological tests to see if she reacts unexpectedly. Although privacy appears to be respected, it is only on the surface. When speaking with a separated coworker (Gustaf Skarsgård), George suggests that some matters are better left unspoken, while later confiding in Clarissa that the secret to his marriage lies in constantly observing Kathryn and being prepared to protect her no matter what.

“My God, that’s hot,” Clarissa swoons.

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Frequently, the camera operator for the award-winning “Traffic” director conceived a unique concept for a first-person horror film; a project that demanded a certain level of endurance.

Exploring George and Kathryn’s peculiar moral compass in this movie is like skimming through a collection of postcards. The film’s thoughts pass by quickly, but they are intriguing. It leaves us with thought-provoking questions: What distinguishes secrets from lies? Is it wiser to date an insensitive young charmer or an insecure old ladies’ man? Can one reconcile the ethical divide in a person who despises adultery yet appears indifferent about most other transgressions? The film presents a captivating debate at its first dinner scene, which remains unresolved: Is espionage work noble or evil? However, this discussion takes an unexpected turn when Kathryn casually mentions “little Eddie.

In the narrative, it’s clear that she refers to Edward Snowden. Yet, Director Soderbergh subtly evokes Edward Albee, renowned for his intense play “Who’s Afraid of Virginia Woolf?” The intrigue lies in discerning when the main couple, George and Martha, are orchestrating a wicked prank on their guests or genuinely tormenting each other. In Soderbergh’s rendition, the couples engage in a game of keeping up appearances. One pair even draws blood with a steak knife while maintaining that everything between them is alright; another duo competitively debates who would recover quicker from their breakup.

During those instances, “Black Bag” stands out as one of the most hilarious films I’ve watched where no one seems to be laughing. Fassbender’s deadpan delivery of the word “sphincter” made my heart race. The humorous scenes possess an enthusiasm that is notably absent in the more somber segments, such as the overly symbolic shots of George fishing. Yes, we understand his skills at catching fish, but it’s still delightful to appreciate something that is both serious and uninhibited, much like a jazz teacher who can also get a crowd dancing. (The groovy soundtrack is by David Holmes, whose collaboration with Soderbergh goes back to 1998’s “Out of Sight.”)

Without the looming specter of mass destruction, I have a feeling that Soderbergh isn’t being entirely sincere about this movie; it’s more like a playful flirtation. His primary intention is to captivate the audience, to underscore that his films are dedicated to providing entertainment for grown-ups. In fact, he seems to be enjoying the process, delighting in whatever sparks his creativity, whether it’s the lively nightclub tracking shot at the start or the intimate close-ups of Blanchett and Fassbender’s eyes that evoke his own Sergio Leone fascination. When you’ve got his enthusiasm, why hide it?

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2025-03-14 02:01

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