From the whirring throb of a helicopter blade to a whispered goodbye in a crowded street, sound design is integral to our interpretation and enjoyment of film.

It can take a movie to a whole other level, and this is almost the case with Hanna, Joe Wright’s fourth and arguably most enjoyable movie.

For a young English director it’s a bold, esoteric feature with a European heart, HANNA

which relies heavily on strong imagery and earshredding sound to carry a threadbare plot.

From the very top, Wright stamps his stylish take on the girl assassin genre,

as a piercing gun shot and painfully hip titles sequence files the film in line with Nikita, Leon and Kill Bill before five minutes is up. HANNA

But this is no copycat killer.

Hanna, played with a beguiling stillness by Wright regular Saoirse Ronan, rips through this revenge story with

such grace and humour that through sheer force of personality the film separates itself from its peers.HANNA

The real beauty though comes alive through the speakers, with a
soundtrack from the Chemical .HANNA

Brothers that is both understated and fitting, HANNA

almost every scene excites on more than one level.HANNA

Indebted to such films as Run Lola Run and the Bourne trilogy,HANNA

Ed and Tom demonstrate a subtle respect to the medium of film that may surprise some ‘Hey Boy, Hey Girl’ this is not.HANNA

What a distressing thought, no wonder this man views a bit of saxophone wonk as blindingly joyful.

I suspect this is a deeply personal process for Kirk, who says he still does all of the writing by himself, Posen and Trottier’s

contributions being the composition of a handful of haunting instrumentals that evolved out of the live sets.

They were initially improvised pockets of music between songs, to help hold the otherwise (according to Kirk) somewhat disparate collection of
tracks together.

I ask if they have any plans to collaborate on the writing as well in future. The reaction is not unlike asking a newlywed

couple when they plan to start churning out offspring.

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