Melissa McCarthy’s latest role is adorkable and unassuming CIA analyst Susan “Coop” Cooper, devoted to being the real humble hero behind her partner’s (Jude Law) macho would-be-007 triumphs. When Jude Law’s arrogant character falls off the grid and the agency cannot risk sending in any more high profile agents, McCarthy volunteers to infiltrate the world of weaponry and fun and prevent international crisis. Through constant running gags, round and authentic characters as well as the lampooning of the Bond genre, audiences are exposed to a subtly empowering narrative of rational egoism, female empowerment and a challenge of convention.
I went in narrow-minded… assuming that all the best lines had been put in the trailer and that what we were going to witness was line after line of cringe-worthy or cliché material from the Bridesmaids (2011) and The Heat (2013) star. However, I think it surprised all with a laugh-a-minute screenplay… if that’s not comedic bang for your buck, I don’t know what is. I believe a number of elements contributed to this success… firstly, the wholeness of each character – each had their own trope, style and voice that was distinguishable and authentic to viewers. Secondly, it was parodying a genre but also adhering to the much-loved and traditional conventions of one to please a broader audience. Lastly, the narrative and scripting held impeccable pace and timing… no dialogue was too affronting or unintentionally clichéd, the events retained purpose and the ingredients of comedy, action and drama were all baked nicely as one.
Her undercover identities amusingly consist of Midwestern cat devotee and scruffy single mother, however rebelling against these typecasts, Coop embodies a sophisticated con artist upon her instructions to observe and report on the whereabouts and undertakings of Rose Byrne’s Bulgarian arms dealer, Rayna Boyakov. McCarthy goes rogue. She is no longer puppy-eyed desk jockey Susan Cooper, she is femme fatale fighting, plane-flying, high-speed hottie agent Cooper. Yet, what is the most promising aspect of this defiance is the fact that the narrative is not then entirely based on McCarthy’s character proving she is worth the “secret agent” title. Although everyone doubts the fact that her credentials as a skilled expert and ruthless opponent stand true, director, Paul Feig, doesn’t make this the central theme – he instead highlights the character’s unpredictability, speed and wit – she is contradictory, daring and absurd, clingy and intimidating, intelligent yet clueless… she is human.
There is a feminist angle established in the film. The male agents are the clueless and hushed characters, whereas the women are the leading heroines, villains and sidekicks… there is none of this damsel in distress bullshit that seems to plague the action genre. This breaking of convention is further aided by the hilarious relationship dynamics established between the major characters. Rayna and Agent Cooper’s dialogue exchanges literally had me in stitches, as well as Jason Statham’s recollections of his victories and misadventures as an agent who seems he should have died about sixteen times by now.
In conclusion, Spy is fancier than Feig and McCarthy’s previous collaborations… it is flush with positive messages, hectic and colourful sets, hilariously fresh dialogue and insults, all topped with a sprinkling of cheeky surrealism. Do not be scared of Hollywood’s typical “shove it all into the trailer” method… this film is a laugh-a-minute style situation that will relinquish your fears for McCarthy’s typecasting condition and the strength of hybrid action-comedy genre.
Bronte On Film 