Certification. 18
Running Time. 1 hour 40 mins
Director. David Cronenberg
Cast. Vincent Cassel, Viggo Mortensen, Armin Mueller-Stahl, Naomi Watts.
Rating. 72%
Review.
While Naomi Watts sympathetically embraces a fairly two dimensional character as the midwife who tries to get a diary translated and save the baby - Anna’s more a preachy moral touchstone than a fully developed character - Viggo Mortensen’s portrayal of the cold-hearted and morally ambitious Nikolai is mightily impressive. Every verbal tic and facial expression is completely convincing, and he retains the ability to remain charming no matter what deplorable act he perpetrators. Mortensen was nominated for the Academy Award for Best Performance by an Actor in a Leading Role; and if it wasn’t for Daniel Day-Lewis’ exceptional performance in Paul Thomas Anderson’s There Will Be Blood, he might have walked away with the top honour.
As is the case with the majority of David Cronenberg films, violence is key to the film’s success because of how shocking and memorable the representation is. But something that is often overlooked in Eastern Promises is the establishment of a brooding, menacing atmosphere by the eerie voiceover that echoes throughout the film. The voice belongs to Tatiana (Tatiana Maslany). She is the tragic young girl who loses her life during the film’s opening, and a character that determines the rest of the film. Tatiana retells her tragic story, with bright hopes of becoming a dancer in England, before the hideous reality results in her abuse, pregnancy and eventual death.
To many, Eastern Promises is one of Cronenberg’s most accessible and conventional films - a wonderfully well-executed crime drama. To others, the film is missing the challenging themes, bigger ideas and, dare I say, weirdness of other Cronenberg productions. The violence and body horror in Eastern Promises is watered down, perhaps signifying a natural climax for Cronenberg’s obsession with the subject. From the slashing of a Russian gangster’s throat in the opening scene to the beautifully choreographed fight on the wet tiles of Finsbury Baths, violence is certainly less frequent here than in other Cronenberg films, but no less shocking.
One could argue that the director has failed to recapture the success of Eastern Promises and A History Of Violence in any of his subsequent work.
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