The Little Drummer Girl – first look review | Little White Lies

Festivals

The Lit­tle Drum­mer Girl – first look review

17 Oct 2018

Words by Kambole Campbell

Two people, a man in a green jacket and a woman in a blue coat, walking together down a city street.
Two people, a man in a green jacket and a woman in a blue coat, walking together down a city street.
Flo­rence Pugh, Alexan­der Skars­gård and Michael Shan­non star in this lurid, weird and impec­ca­bly designed new work from Park Chan-wook.

In the first two episodes of Park Chan-wook’s The Lit­tle Drum­mer Girl, almost noth­ing is as it seems. Open­ing on its lead, a young Eng­lish the­atre actress named Char­lie (Flo­rence Pugh), audi­tion­ing for an unknown part, it’s soon made clear that what we see and hear is not to be accept­ed at face val­ue. As she tells a sto­ry, images that con­tra­dict her words spo­rad­i­cal­ly intrude.

No stranger to play­ing with per­spec­tive, Park and writ­ers Michael Leslie and Claire Wil­son hold vital infor­ma­tion tan­ta­lis­ing­ly out of reach. From the star­tling act of vio­lence that pre­cedes the afore­men­tioned audi­tion, to a meet­ing between oper­a­tives from unnamed agen­cies, the first episodes ele­gant­ly weave dis­parate plot threads togeth­er at a quick yet mea­sured pace, cul­mi­nat­ing in sur­pris­ing, immense­ly sat­is­fy­ing ways.

Adapt­ed from the 1983 nov­el by John le Car­ré, The Lit­tle Drum­mer Girl takes place across mul­ti­ple coun­tries but is pri­mar­i­ly set in West Ger­many, fol­low­ing the efforts of a team of Mossad agents to kill a Pales­tin­ian man per­pe­trat­ing bomb­ings of Jew­ish tar­gets. The show recalls Steven Spielberg’s Munich in its uncom­fort­able set­ting and premise; both ques­tion the legit­i­ma­cy of the act of vengeance being under­tak­en by the Mossad agents, posit­ing that the tragedy wit­nessed in the cold open is being used as an excuse to frame immoral, despi­ca­ble acts as ret­ri­bu­tion. It’s fair­ly clear about this point, with one agent refer­ring to the open­ing inci­dent as a gift”.

Middle-aged man with curly hair and glasses, wearing a white shirt, against a backdrop of yellow and blue lights.

The Lit­tle Drum­mer Girl marks the acclaimed South Kore­an director’s first for­ay into big-bud­get tele­vi­sion, although the BBC seems like a strange fit for Park. Thank­ful­ly, his more per­verse sen­si­bil­i­ties haven’t been dulled one bit. In one of the more unusu­al moments from the first two episodes, a group of Mossad agents plot some­thing nefar­i­ous while all eat­ing ice lol­lies. The show vis­its numer­ous points of polit­i­cal ten­sion, some­times approach­ing them with a pitch-black sense of humour.

It seems almost too good to be true that a show this bold also hap­pens to star Michael Shan­non sport­ing a heavy accent and glass­es almost as thick as his mous­tache. Alexan­der Skars­gård, mean­while, is his typ­i­cal stat­uesque, qui­et­ly men­ac­ing self, and Flo­rence Pugh brings atti­tude and wit to her cen­tral role. All three are adorned in bright, colour­ful cos­tumes – bold greens, oranges and yel­lows that stand out even in splen­did loca­tions and excep­tion­al­ly detailed sets.

All this is con­nect­ed by inven­tive cam­er­a­work and edit­ing, with elab­o­rate shots that change per­spec­tive with gra­tu­itous zooms and whip-pans. One stand­out tran­si­tion con­nects the past and present by dis­solv­ing the frame around Pugh’s face. Though it remains to be seen where the show’s nav­i­ga­tion of extreme­ly sen­si­tive pol­i­tics will ulti­mate­ly end up, it’s a beau­ti­ful, auda­cious and often hilar­i­ous thrill-ride from the get-go.

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