David Cronenberg, a filmmaker best known for his bizarre and sometimes downright graphic sci-fi and horror films, seems to be mellowing out with age. But just because he's been favoring more traditional stories doesn't mean that he's lost his touch as a director.
Eastern Promises, much like his earlier effort, 2005's
A History of Violence, is a crime story that is told not through shoot outs and chases, but with richly developed characters.
Violence was one of that year's best films, and while
Eastern Promises is very good in its own right, it doesn't stand out quite as much. This is partially intentional, because this is a much more laid back film than his last effort. That being said, this is still obviously a great film on its own.
Set in London just before Christmas, a midwife named Anna (Naomi Watts) is dealt with the task of looking after a newborn baby after the infant's 14-year-old mother, who arrived at the hospital bloodied and bruised, dies while giving childbirth. She discovers a diary that was in the mother's possession, but the writing is in Russian and she can't make it out. Hoping that the diary could lead to some information on who the girl's family was so that they can look after the baby, she discovers a business card within the book that leads her to a Russian restaurant which is run by an old man named Semyon (Armin Mueller-Stahl). Anna hopes that he can help her translate the contents of the diary, but little does she suspect, this seemingly innocent old man has ties to the Russian Mafia and is connected to the fate of the baby's dead mother. Semyon does not want the contents of the diary to be known to an outsider, and Anna unknowingly becomes wrapped up in the criminal underworld, where her only chance for survival may lie in the hands of a driver who works for Semyon named Nikolai (Viggo Mortensen).
Those expecting a fast-paced crime thriller will likely be bored with the leisurely path that
Eastern Promises takes in telling its story. Aside from a spectacular fight scene that occurs in a public bathhouse late in the film, there are no action sequences. This is a quiet character study about loyalty, betrayal, and a woman who finds herself in over her head when she starts asking questions about this mystery woman who died in her hospital. There is a certain simplicity to the film, as the movie is more concerned with the people and their relationships, rather than their criminal acts. The screenplay by Steven Knight does not complicate itself, and stays focused on the characters. This is both the film's best and worst aspect. One of the film's strengths is the depiction of the conflicted Nikolai, as he finds his loyalties torn between different people within the crime family, and even some personal confliction as well. Likewise, Anna is a fascinating character in her own right, as she is determined to do what is right and refuses to become intimidated by these underworld types, even when she finds out the truth about them. She is strong and determined to not only find out the identity of her patient, but also in the family, so that the baby can be given to its rightful family. Everyone is fully fleshed out. This is not a black and white character study of the Mob. We eventually find ourselves feeling for the mobsters almost as much as Anna.
Indeed, Nikolai may be one of the more interesting antiheroes to hit the screen in quite a long time. He is ruthless and cunning in his own ways, but he has a deeply layered personality that shows through in a lot of the film's best scenes. Most of this is tied into his scenes not only with Anna, but also with his best friend within the crime family and Semyon's adult son, Kirill (Vincent Cassel). He may appear to be cool and cold on the surface, but there are also hints that he has some genuine humanity within him, such as the way when he warns Anna not to get involved with business that does not concern her, it seems to be more out of concern for her rather than a threat. He sometimes even seems to be helping her, perhaps for reasons even he doesn't understand. It is not just the character that impresses, but also Mortensen's performance. Half of his dialogue is in Russian, but he is able to say plenty just with his body and his eyes. It's one of the great performances of the year, and he's in good company here. Naomi Watts also impresses, as she is able to create a sympathetic yet very strong presence as Anna. The two actors are evenly matched in each of their scenes together, and watching them work together is wonderful to see.
As good as those performances are, the one that stood out the most for me is Armin Mueller-Stahl as the head of the crime family. He has to play somewhat of a duel personality role, as he must be both warm and inviting, while also menacing and calculating in other scenes. He tackles the complex character with a sort of ease that comes across as being natural. His ability to switch between warm and deadly personalities is almost frightening, and it's probably one of his best performances in years. Everyone in the cast is more than up to the challenge that the screenplay gives them, and that is what makes
Eastern Promises worth watching. The story may be somewhat conventional, but the acting and the characters brings everything up to a higher level. The film is also beautifully shot, and uses its dark London backdrops to the fullest. I would have liked to have seen the movie put its Christmas imagery to better use, which could have created some memorable sequences, but this is only a small complaint.
If I am only the slightest bit disappointed in
Eastern Promises, it's only that I was a huge fan of
A History of Violence, and this movie just didn't grab me in quite the same way. It's a personal bias, and I'm not going to hold it against this movie. David Cronenberg may not be making the same kind of films he used to, but he still remains a genuine talent as both a filmmaker and a storyteller. This is a fascinating film to watch, and even more interesting one to think back on when it is over.
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David Cronenberg, a filmmaker best known for his bizarre and sometimes downright graphic sci-fi and horror films, seems to be mellowing out with age. But just because he's been favoring more traditional stories doesn't mean that he's lost his touch as a director. Eastern Promises, much like his earlier effort, 2005's A History of Violence, is a crime story that is told not through shoot outs and chases, but with richly developed characters. Violence was one of that year's best films, and while Eastern Promises is very good in its own right, it doesn't stand out quite as much. This is partially intentional, because this is a much more laid back film than his last effort. That being said, this is still obviously a great film on its own.
Set in London just before Christmas, a midwife named Anna (Naomi Watts) is dealt with the task of looking after a newborn baby after the infant's 14-year-old mother, who arrived at the hospital bloodied and bruised, dies while giving childbirth. She discovers a diary that was in the mother's possession, but the writing is in Russian and she can't make it out. Hoping that the diary could lead to some information on who the girl's family was so that they can look after the baby, she discovers a business card within the book that leads her to a Russian restaurant which is run by an old man named Semyon (Armin Mueller-Stahl). Anna hopes that he can help her translate the contents of the diary, but little does she suspect, this seemingly innocent old man has ties to the Russian Mafia and is connected to the fate of the baby's dead mother. Semyon does not want the contents of the diary to be known to an outsider, and Anna unknowingly becomes wrapped up in the criminal underworld, where her only chance for survival may lie in the hands of a driver who works for Semyon named Nikolai (Viggo Mortensen).
Those expecting a fast-paced crime thriller will likely be bored with the leisurely path that Eastern Promises takes in telling its story. Aside from a spectacular fight scene that occurs in a public bathhouse late in the film, there are no action sequences. This is a quiet character study about loyalty, betrayal, and a woman who finds herself in over her head when she starts asking questions about this mystery woman who died in her hospital. There is a certain simplicity to the film, as the movie is more concerned with the people and their relationships, rather than their criminal acts. The screenplay by Steven Knight does not complicate itself, and stays focused on the characters. This is both the film's best and worst aspect. One of the film's strengths is the depiction of the conflicted Nikolai, as he finds his loyalties torn between different people within the crime family, and even some personal confliction as well. Likewise, Anna is a fascinating character in her own right, as she is determined to do what is right and refuses to become intimidated by these underworld types, even when she finds out the truth about them. She is strong and determined to not only find out the identity of her patient, but also in the family, so that the baby can be given to its rightful family. Everyone is fully fleshed out. This is not a black and white character study of the Mob. We eventually find ourselves feeling for the mobsters almost as much as Anna.
Indeed, Nikolai may be one of the more interesting antiheroes to hit the screen in quite a long time. He is ruthless and cunning in his own ways, but he has a deeply layered personality that shows through in a lot of the film's best scenes. Most of this is tied into his scenes not only with Anna, but also with his best friend within the crime family and Semyon's adult son, Kirill (Vincent Cassel). He may appear to be cool and cold on the surface, but there are also hints that he has some genuine humanity within him, such as the way when he warns Anna not to get involved with business that does not concern her, it seems to be more out of concern for her rather than a threat. He sometimes even seems to be helping her, perhaps for reasons even he doesn't understand. It is not just the character that impresses, but also Mortensen's performance. Half of his dialogue is in Russian, but he is able to say plenty just with his body and his eyes. It's one of the great performances of the year, and he's in good company here. Naomi Watts also impresses, as she is able to create a sympathetic yet very strong presence as Anna. The two actors are evenly matched in each of their scenes together, and watching them work together is wonderful to see.
As good as those performances are, the one that stood out the most for me is Armin Mueller-Stahl as the head of the crime family. He has to play somewhat of a duel personality role, as he must be both warm and inviting, while also menacing and calculating in other scenes. He tackles the complex character with a sort of ease that comes across as being natural. His ability to switch between warm and deadly personalities is almost frightening, and it's probably one of his best performances in years. Everyone in the cast is more than up to the challenge that the screenplay gives them, and that is what makes Eastern Promises worth watching. The story may be somewhat conventional, but the acting and the characters brings everything up to a higher level. The film is also beautifully shot, and uses its dark London backdrops to the fullest. I would have liked to have seen the movie put its Christmas imagery to better use, which could have created some memorable sequences, but this is only a small complaint.
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