The story of Joan Stanley, who was exposed as the KGB’s longest-serving British spy.
“Red Joan” relays the account of a fictitious Joan Stanley inspired by the true story of Melita Norwood, revealed as the KGB’s longest-serving spy at the age of 87. In the film, Sophie Cookson dominates most of the story as young Joan, seen through a series of flashbacks. She provides a compelling presence throughout – early on as an idealistic physicist, then later as a Russian agent passing atomic secrets. In a tale like this, motivation counts for everything, and we methodically grow to understand the trail of events that precipitates Joan’s actions.
Early on, Joan meets Sonya (Tereza Srbova), an adventurous schoolmate who travels in a different circle of friends, among them Sonya’s cousin Leo (Tom Hughes). Joan’s first date with Leo involves screening a Russian film with a group of communist sympathizers. Over time, Leo attempts to recruit Joan but to no avail. Further frustrating Joan, Leo leaves for months or years at a time to pursue his communist duties as a mole.
After graduation, Joan takes a job with a company posing as a front for Britain’s equivalent of the Manhattan Project. Stephen Campbell Moore plays Max, the head physicist in Britain’s efforts to develop its own nuclear weapon system. Leo’s neglect of Joan leaves the door open for an affair with the married Max (Stephen Campbell Moore), who seems sure his wife will never grant a divorce.
In May of 2000, when senior government official and fellow conspirator William Mitchell (Freddie Gaminara) dies, evidence links Joan to espionage, leading to her arrest and subsequent interrogation. These conversations with investigators drive the narrative. Judi Dench appears initially nonplussed about her detention. However, as details emerge from files dating back to before the war, her culpability becomes clear.
The older Joan’s adult son Nick (Ben Miles), a barrister, recoils in the knowledge of his mother’s true identity. He learns gradually during sessions of interrogations that his mother spied for the Russians over the course of several years without a hint to anyone. Devastated and angry at first, he slowly begins to understand his mother’s rationale.
While undertaking highly classified work on the bomb, Joan sees how the shifting politics of the Russians affects their relationship with the Allies. When Germany breaks its non-aggression pact and invades Russia, the Soviets join the Allied forces. Despite the turn of events, the Americans refuse to share their atomic research with the British and Canadians – and no one shares their information with the Russians. Joan worries that a western monopoly of knowledge about such horrific weapons will increase the chances for future global conflict.
In a darkened theater, Joan eventually sees newsreel images of Hiroshima’s devastation, confirming her worst fears. In fact, to date, the U.S. remains the only country to use nuclear weapons as a mechanism for war. During the Korean conflict, President Eisenhower’s military advisors urged him similarly. Happily, Eisenhower declined – establishing a precedent we continue to enjoy decades since.
Once Joan resolves to share the technology, she contacts Sonya, who provides an introduction into the nature of spycraft. Many people will reflexively recoil at the betrayal by Joan, particularly in this current age of increased nationalistic fervor. Yet the recent exposures by Julian Assange, Edward Snowden, and Chelsea Manning of classified, nonetheless plainly criminal, military activities demonstrate that government proves quite capable of making highly flawed decisions for sheer political ends. Although the film may not offer as much action or drama as some might prefer, “Red Joan” presents a thoughtful look at the nature of official secrets, never hesitating to question exactly whose interests’ politicians and policymakers truly do serve.
Opens in select theaters Friday, May 3rd
