The war hero

This chapter explores Power’s work within the genre of the war film, which began around the time that Britain entered World War II. Even in war-themed films, elements that had made Power a recognisable star image were present, only now positioned within a wartime setting. His familiar witty dialogue, wide grins and charm with the ladies from earlier comedies and musicals are overtly displayed in A Yank in the RAF (Henry King, 1941) and Crash Dive (Archie Mayo, 1943), despite much of the latter taking place onboard a submarine with a crew made up exclusively of men. This chapter examines Power’s four war films in chronological order to help illustrate the development of a newfound masculinity and maturity in Power’s screen image, which advances from his cocky self-assuredness and incessant womanising in his first war film, A Yank in the RAF, through his psychological issues in This Above All (Anatole Litvak, 1942), to his more stable and understanding relationship in his last war film: American Guerrilla in the Philippines (Fritz Lang, 1950).

Red Sparrow

The chapter examines Red Sparrow as commentary on current U.S. politics. In a time when traditional identity values are at stake, the two current governments of Russia and the U.S both operate at the expense of the individual. As a second Cold War film, Red Sparrow acts a mirror, manipulating American fascination with Russia to direct Americans’ gaze at themselves. In the process, the film evokes a reevaluation of how Americans maintain traditionally held values, including concepts of duty and patriotism, even if that loyalty demands contesting America’s own corruption. Thus, this chapter argues that Red Sparrow compels its viewers to reevaluate their values in light of how the new Cold War is being fought: not conventionally, but on a much more personal level compelling individual choice.