Lose Yourself in The Agency

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Michael Fassbender might not be the most suitable choice for The Agency‘s protagonist, a top CIA agent who returns to London after years of undercover work in Sudan. In a crucial mid-season sequence, Martian (his alias) must allow his enemy to inflict significant damage on him to preserve his disguise as an intellectual teacher turned author. However, one might question if Fassbender, known for his clenched jaw and physique reminiscent of a Greek deity, would be easily overlooked in a crowd. Or perhaps, the attacker could end up injuring himself trying to kick such a well-toned body?

Fassbender’s portrayal as a statue-like spy might seem unusual for authentic espionage, but his captivating depiction of an agent grappling with existential stress makes the unconventional casting choice forgivable. The American remake of the acclaimed French spy series, titled The Agency, follows in the footsteps of spies who disrupt and damage everything they encounter, including themselves. While recent espionage series have subverted the traditionally grave genre with endearing losers (Slow Horses) or anarchic humor (Black Doves), this focus appears somewhat traditional. However, every aspect of The Agency, from its authentic portrayal of espionage work to its sleek cinematography and stellar cast, is executed masterfully. Few spy thrillers can compare to the excellence of this series.

The story starts with Martian feeling out of place as he adjusts to his new management job after being away for a long time. He misses Sami (played by Jodie Turner-Smith), the woman he left in Sudan. Their relationship seems like something straight out of an exciting romance novel: A memory shows them escaping danger when armed men disrupted a speech Sami was giving. Now that Martian knows Sami is in London discussing Sudan’s future, he faces a difficult choice – risk his job to be with her or stay away for the good of his country. Michael Fassbender portrays this struggle perfectly, showing an inner turmoil through his restless gaze. Even when he’s alone at home, Martian can’t find peace. It feels like the old him, the one he just came back to, is just another temporary disguise.

The series, titled The Agency, meticulously portrays the rhythmic pulse of espionage through scenes such as exchanging vehicles in hidden parking garages, scrutinizing spreadsheets for targets, and searching apartments for listening devices. This careful depiction is surprisingly captivating, creating an impression that you’re observing a finely-tuned machine operated by proficient professionals, each infusing the operation with their unique personalities and idiosyncrasies.

Despite the series being driven by Martian’s existential drama, it also subtly functions as a workplace comedy. The station chief Bosko, despite embodying Richard Gere’s stardom, essentially plays a grumpy bureaucrat who pushes his team for results under the orders of Dominic West’s assertive CIA director. There’s a certain pleasure in watching Gere give the finger to a subordinate as he endures a reprimand from another superior. Jeffrey Wright’s character, Henry, is a more laid-back middle management figure who unfortunately serves as the longtime mentor to the power-hungry Martian, while simultaneously experiencing the common frustrations of office life, such as dealing with vermin in his workspace.

These internal politics contribute to The Agency‘s appeal: Despite the grandiose legends surrounding state espionage work, it’s essentially just a job. These professional spies may face life-threatening situations daily, but they also engage in typical office politics, such as competing for conference rooms.

The information presented here indicates that “The Agency,” an American adaptation of the critically acclaimed French series “The Bureau,” closely follows the original show’s plot points for significant portions, even replicating certain scenes almost verbatim. This is not seen as a negative aspect, as both shows share similar strengths, such as intellectual depth and sweeping narratives that feel authentic to real-world espionage. However, what sets “The Bureau” apart, including its exploration of themes like postcolonial France and its depiction of French culture, are elements that contribute to its unique charm. In other words, the French origin of “The Bureau” gives it a distinct New Wave flavor, as characters grapple with complex issues related to love, patriotism, and geopolitical crises in a manner that reflects the French self-image as a country appreciative of life’s finer aspects.

The similarity between The Agency and its original source material is somewhat puzzling, as it seems determined to follow the same path as The Bureau, albeit with some contemporary updates and American touches: There’s an increased emphasis on action; the CIA’s headquarters are more extravagant than those of the DGSE; a plot that was set in Algeria during The Bureau now unfolds amidst the Russia-Ukraine conflict. However, there are significant differences that alter the original series’ thematic tone. The Bureau chronicled the story of a spy struggling in the twilight of an empire. Over the course of that series, Malotru becomes increasingly uncertain about whose allegiance he truly serves. In contrast, The Agency appears to be telling a similar tale but replacing France with America lends it a poignant relevance. Watching The Agency, which is set in 2023, in the run-up to a potential second Trump administration — with all of the president-elect’s expansive gestures toward acquiring Greenland and the Panama Canal, as well as the further deterioration of global order that his return to power might imply — feels eerily prescient. As Martian edges closer to abandoning his country, it seems that the pursuit of his own dreams is propelling him forward. Yet, observing the world around us, it’s difficult not to sense that he’s also being pushed.

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2025-01-18 01:53