In theaters. Rated R. 100 minutes.
Naomi Watts is a London midwife who finds a young pregnant girl’s diary. The mother-to-be dies during pregnancy, but the baby lives. In an attempt to track down the baby’s family, she tries to have the diary translated from Russian to English. When her uncle refuses, she takes it to a restaurant connected with the diary. The restaurant owner (Armin Mueller-Stahl) is a member of the Russian mafia and is having trouble with his reckless son Sonny, I mean, Kirill (Vincent Cassel). Kirill and his driver Nikolai (Viggo Mortensen) are setting up business behind the old man’s back, leading to violence, back-stabbings (literally and figuratively) and unnecessary songs featuring the accordion.
David Cronenberg’s follow-up to A History of Violence (A) once again features Mortensen, who is even more impressive here playing a rising member (ahem) of the Russian mafia. His accent never falters and his stony exterior hides warmth his eyes can’t. Cassel is less successful in a tough role, but Mueller-Stahl is solid as the grandfatherly figure who will kindly kill you if you get in his way. Watts is her usual excellent self, able to express ranges of emotion and turn on the tears when necessary.
In A History of Violence, the brutal violence commented on America’s fascination with violence. You were forced to really look at the effect of violence and examine yourself. Cronenberg seems to be getting off on the violence in Eastern Promises. The brutal deaths here don’t really add to the messages of denied hope and the suppression of females through sex. The climactic (ahem) scene occurs when 2 Russian thugs attack Nikolai in a bathhouse. Viewers should be prepared to witness the Full Aragorn. It ends up a memorable stunt, but signifies very little. Maybe I’m a being too harsh since A History of Violence was my favorite film of 2005, but: B.Medical note: In most placental abruptions, the baby dies while the mother lives.
5 comments:
B+ for me. Viggo is unbelievable in this one, for the reasons you describe. Mueller-Stahl and Watts are also solid (http://www.ebookgratis.net/images_bank/news/2006/maggio/naomiwatts01.jpg). I thought Cassell did a decent job with a weird role. The kiss near the end of the film was a big mistake, it felt false and looked false. DC seemed to be trying to explore some birth/death issues and had good character development.
B for me as well, (i talked myself up from a B-). I wanted to like this one more than I did. While I appreciated the themes that Cronenburg is attempting to explore here, it never really came together. as lawyer says, he seems to be exploring the birth/death issues and (i think) family issues (there's not a family in this where the parents aren't either disappointed in the children or vice versa), but what i'm not sure what he's actually wanting to say. The title draws you back to the promises made to the 14 year-old sex slave, but that story, which it seems is suppose to function as the linchpin for the understanding the other stories me, never fully does so for me.
You guys are being too hard on the A student. Priest, Down in the Valley can't be better than this.
that's reasonable. i actually rethought down in the valley and would probably put it at a B, but i would keep it there. i'm sure i'm missing something. cronenburg always has something to say. i didn't care for crash, but i'll admit he was saying something. but with this one, technically, very well made. the acting is fabulous, but i just don't get it. and if you put me through those throat-cutting scenes and a knife to an eye, you need to be saying something. i'm sure he was, but i didn't catch it.
It was close to a B+ for me and when it's close, I decide when I want to see it again. The answer is not real soon.
The uncle's drawn-out refusal to translate was confusing. And some of the transitions were awkward.
Maybe a Cronenberg DVD commentary will elevate it.
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