An offbeat 2011 action-thriller (with Speculative Fiction elements) starring Saoirse Ronan, Eric Bana and Cate Blanchett, reuniting Ronan with Atonement director Joe Wright.Hanna (Ronan) is a teenage girl brought up in the frozen wastes of Finland with her father Erik (Bana) who has been training her to be the perfect assassin. On a mission from her father, Hanna treks across Europe towards an uncertain goal while being pursued by a shadowy CIA operative (Blanchett). Hanna begins to uncover details of her past and about her true nature all the while poignantly coming to grips with a totally unfamiliar world and kicking more than the occasional ass.The film boasts a soundtrack by ''The Chemical Brothers'' and striking cinematography.Hanna has also gained some recent attention after it was revealed that it's writer will also be working on the screenplay for the Shadow of the Colossus movie.Be warned: spoilers ahead.
Marissa's past dealings with Erik are left up to the viewer's interpretation in the film, but the script outright states that they are both American and were married at the time of the Super Soldier experiments.
All Work vs. All Play: Sophie takes Hanna on a date to a Flamenco festival, where she learns to have fun for the very first time.
Amazingly Embarrassing Parents: Rachel is pretty open-minded about what it's acceptable to talk to children about; Sophie clearly wishes she were a bit less so.
Ambiguous Innocence: Hanna. The story questions the amount of distance between Hanna's willingness to kill, and her spiritual and emotional purity.
Ambiguously Gay: Invoked with Hanna. She rejects the Spanish boy's kiss, but kisses a girl later on. Considering her upbringing, it's not likely that sexuality is something she understands very well.
Brutal Honesty: In the sense of lacking tact rather than being nice. When asked how her mother died, Hanna bluntly responds that she was shot three times.
Call to Adventure: Hanna believes she's "ready" for the world. When Erik agrees, he gives her a radio transponder that will reveal their position to the CIA (specifically, Marissa) if she chooses to switch it on.
Container Maze: Features a particularly epic chase scene through one of these. Word of God says the setting was chosen because the stacks of containers were reminiscent of the building blocks of some gigantic child.
Creepy Child: Hanna is incredibly sweet, innocent and soft-spoken...and will shoot a soldier in the face without hesitation.
Miles, Sophie's little brother, takes a lot of pictures but doesn't talk much.
Dangerously Genre Savvy: Marissa, who sends in a Body Double to meet with Hanna rather than get near her herself. For that matter, so is the guy monitoring the CCTV when he realizes Hanna's behavior isn't quite right.
Death by Falling Over: Marissa. Although it was the bullet to the heart that finished her off, slipping and falling down the slide (while having already lost a lot of blood from an arrow to the hip) played a significant role in her downfall.
Depraved Bisexual: Isaacs runs a back-alley prostitution club that caters to extreme sexual tastes.
Earn Your Happy Ending: Hanna goes through hell so she can finally be left alone. At the end, she tries to turn her back on Marissa and walk away because she's sick of the bloodshed, but Marissa makes it clear that she won't let this end until one of them is dead.
Fantasy-Forbidding Father: Erik's training means Hanna can take down a reindeer or a squad of goons, he drills her on several languages and reads the encyclopaedia to her. But things like music and fiction are off-message, and Hanna only reads a book of fairy tales. He purposefully withholds direct affection and emotion and anything else that could be a distraction from her training, which proves to be a weakness for her when she enters the world. In fact, part of the story is about her discovering feelings and human experiences after being deprived of them her whole life.
First Kiss: Hanna backs out of one with the Spanish boy, but she kisses Sophie later on.
Foil: Sophie's carefree enthusiasm to Hanna's ultra-serious and disciplined personality.
I Just Want to Be Normal: Hanna realizes this after her time with Sophie and discovering the circumstances of her birth and upbringing.
I Miss Mom: Hanna keeps a photo of her dead mother by her bedside.
Idiot Ball: Riding along in Sophie's family's camper van, Hanna notices that they are being tailed, presumably by people wishing to hunt her down. She says nothing about this, even when Sophie's mother stops to read the map. It's possible that she didn't want to alarm the family by telling them.
Kill 'em All: By the end of the movie, Hanna is probably the only named character still alive (five characters if Sophie and her family were left alive, since whether or not they were killed is up to debate), and how long that's true depends on how bad the gunshot wound was. The alternate ending (which, in all honesty, really just adds to the movie's ending rather than change it), shows that she does survive, however.
Little Red Riding Hood: The film is full of visual and verbal references, of varying levels of directness, to Grimm's Fairytales in general and this story in particular.
Malicious Slander: During their interrogation, Marissa tells Sophie's family that Hanna's father murdered her mother.
Mama Bear: Implied with Marissa. She's not the biological mother, but it's touched on a few times that she may consider herself something of a mother to Hanna as Marissa had headed the project that created Hanna. Epitomized when she yells, "Don't you walk away from me, young lady!" at the end.
Manic Pixie Dream Girl: Sophie seems to play this role for Hanna, exposing her to fun experiences for the first time in her life and forcing her to bring out her emotions.
Maybe Magic, Maybe Mundane: Hanna's abilities are deliberately ambiguous; she never does anything that would be clearly impossible for a girl her size, so how much of her deadliness is due to genetic engineering and how much is due to her Training from Hell is left unclear.
Mutual Kill: By the film's end, subverted in that Hanna survives while Marissa was mortally wounded.
Mysterious Past: Marissa and Erik. Why they hate each other is up to interpretation, but what is known is that they worked together in the Super Soldier program that created Hanna, and were possibly romantically involved with each other, up until Marissa terminated the other children.
Na´ve Newcomer: The film is about Hanna discovering the world for the first time.
Offscreen Moment of Awesome: Hanna's first kills. When the CIA surrounds Erik's cabin, we see three soldiers enter the cabin. Later, we see them on the floor, necks snapped, with Hanna perched innocently on the landing.
Eriks fights and kills a policeman when he arrives at Denmark. Moments after swimming for several hours straight across the North Sea.
Out, Damned Spot!: The first time we see Marissa, she wakes up and goes through her morning routine, including brushing her teeth. Later, as she's wound up by events, we see her brushing her teeth again, hard enough to draw blood.
Erik might have taught Hanna to be a brutal fighter, drilled the encyclopedia and several languages into her, but basic human interaction is a bit beyond her.
Hanna's time with Sophie's family particularly emphasizes this, her First Kiss being an excellent example.
Redemption Equals Death: After being the "recruiter" of the super-soldier experiment, Erik dedicates the last fourteen years of his life ensuring that Hanna will have the strength to survive, even attempting to give her a good (albeit incomplete) academic education. After Hanna learns the truth about him, he draws everyone's attention so she can get away. Just as he dispatches the hitmen, Marissa finally catches up with him and kills him.
Rule of Symbolism: In the context of a modern thriller, the film features some fairly unbelievable situations and locations, but they serve the film well, giving it its signature otherworldly feel.
Sacrificed Basic Skill for Awesome Training: Hanna is a total badass, but socially inept and new to the world. This is particularly noticeable in the scene in the Moroccan hotel when she is overwhelmed by the sensory input from all of the electric gadgets around.
Scenery Porn: And how! There are gorgeous shots of a frozen lake in Finland and the deserts of Morocco especially. And there's the decaying amusement park in Germany too.
Sensory Overload: Hanna has had virtually no interaction with modern technology. You can imagine the panic when she finds herself surrounded by a boiling electrical kettle, a loud TV, a humming ceiling fan and the buzz of flickering florescent lights. It really doesn't help that some military helicopters are seen on TV, considering the CIA raided her house with helecopters.
Ship Tease: Hanna and Sophie. It's the strongest connection Hanna makes. They're seen holding hands. Also, they kiss, though the commentary suggests that Hanna sees a kiss as a sign of love, not sex. Sophie is also still willing to lie for her even after she sees Hanna brutally beat people. And then there's the fact that Sophie's first thought upon meeting Hanna again was 'I might like to be a lesbian.'
Shown Their Work: When fleeing from the Galinki faculty, Erik and Johanna are driving a Polish car (Polonez), which was heavily in use during the 1990s. It even spots a period-accurate registration plates.
Shrinking Violet: Hanna to the extreme, due to having no human contact her whole life except for Erik.
Sophie's brother Miles is pretty shy, probably owing to his Precocious Crush on Hanna.
Skilled, but Naive: Hanna: an expert assassin who speaks every major language and possesses an encyclopedic knowledge on the world, who was taught nothing about social interaction.
Sugar and Ice Personality: Hanna is genuinely sweet and kindhearted, but is accustomed to being distant and keeping to herself.
Super OCD: Implied with Marissa. The way she brushes her teeth, combined with her desire to hunt down Hanna and Erik to "tie up loose ends" and her generally anxious and prowling personality.
Super Soldier: Hanna is the sole survivor from one of these programs terminated by Marissa. If you go to the viral website you can view a picture of her personnel file - apparently the CIA was growing super-soldiers for the United States Army. Whether the Army was involved, or even KNEW, is unknown - especially as any apparent Army personnel in on the project could be CIA plants (not that any Army personnel are depicted in the movie...).
Survival Mantra: "Adapt or die. Think on my feet; even when I'm sleeping..."
The Body Double. She is repeatedly told to break physical contact from Hanna after being "hugged," and then she fails to heed the multiple orders to abort altogether. She's too busy trying to console a girl who needed detaining and a psych evaluation while pretending to be somebody else who was wary enough of the situation to send in a doppelganger in the first place.
Issacs, in his efforts to follow Hanna, literally tailgates her for several hours.
The agents that try to kill Erik catch him in an open, empty subway platform, and they have guns. They could just shoot him ... but instead try to grab him first, allowing Erik to fight them hand to hand, where he has the advantage. And they knew he was very dangerous. (However, Marissa did want Erik alive, so incapacitation was probably their objective.)