EASTERN PROMISES
While I'd have loved to attend the London Film Festival Gala opening of EASTERN PROMISES, a second screening the following day provided the opportunity for an early viewing of David Cronenberg's latest. So, at 3.45pm my wife and I settled back in our seats at the plush Odeon Westend cinema for the sold-out screening.
Based on a script by Steven Knight (who also wrote 
Stephen Frears' DIRTY PRETTY THINGS - another LFF fave of mine - EASTERN PROMISES slips into the twilight world of Russian organised crime in London's East End. The film begins with birth and death as nurse Anna (Naomi Watts) finds the diary of a Russian teenager who has just died after giving birth. Anna asks her Russian uncle (Polish director Jerzy Skolimowski) to translate the journal, and also engages the attention of restaurant owner Semyon (Armin Mueller-Stahl) who expresses keen interest in this diary of a lost girl. Semyon's son Kirill (Vincent Cassel) and henchman Nikolai (Mortensen) make up a frighteningly real 
triumvirate of terror as egos clash and the object of their attentions becomes more and more important.
Stephen Frears' DIRTY PRETTY THINGS - another LFF fave of mine - EASTERN PROMISES slips into the twilight world of Russian organised crime in London's East End. The film begins with birth and death as nurse Anna (Naomi Watts) finds the diary of a Russian teenager who has just died after giving birth. Anna asks her Russian uncle (Polish director Jerzy Skolimowski) to translate the journal, and also engages the attention of restaurant owner Semyon (Armin Mueller-Stahl) who expresses keen interest in this diary of a lost girl. Semyon's son Kirill (Vincent Cassel) and henchman Nikolai (Mortensen) make up a frighteningly real 
triumvirate of terror as egos clash and the object of their attentions becomes more and more important. On the strength of just one viewing, I'm on the verge of naming this as Cronenberg's strongest film since the twisted love story that is CRASH
. it's simply dripping with prime Cronenberg themes and imagery - birth, death, sexual tension and, yes, body horror - and boldly underlines the feeling that Cronenberg has to be one of the most brilliant director's of actors currently working. Watts, Cassel and Skolimowski are all excellent, but it's Mortensen and Mueller-Stahl who really excel: the former bringing light and shade to an extremely complex individual while the latter breathes life into a character who moves from outward charm to a terrifying persona of evil at the flick of a switch. Highlights are many: look out for an unbelievably brutal encounter in a Turkish bath-house (where Mortensen does battle in unconventional 'body armour'; a sex scene that brings DEAD RINGERS to mind (there's a very good reason for the chosen carnal position) and a brutal declaration of intent set in a trad barber's shop. This really is a treasure trove, both above and below its surface veneer
with Peter Suschitzky's excellent photography showing our capital city at its most menacing. Indeed, as we stepped out into the mild London evening, I couldn't help but think that the London we had just seen was possibly closer than we dared to imagine. Another great cinematic experience, but there is an admittedly minor complaint attached to this event. The previous evening's Gala Opening saw personal appearances from David Cronenberg and Naomi Watts. Would it have been too much for at least one of them to introduce the second screening? Watts did make an appearance on the red carpet outside some 15 minutes after the film ended, so her no-show beforehand was doubly infuriating. Vincent Cassel was also in town, so I guess no-one thought to ask him. The London Film Festival is the biggest event in our movie-going calendar. With a little more thought and effort it could be even more memorable.
. it's simply dripping with prime Cronenberg themes and imagery - birth, death, sexual tension and, yes, body horror - and boldly underlines the feeling that Cronenberg has to be one of the most brilliant director's of actors currently working. Watts, Cassel and Skolimowski are all excellent, but it's Mortensen and Mueller-Stahl who really excel: the former bringing light and shade to an extremely complex individual while the latter breathes life into a character who moves from outward charm to a terrifying persona of evil at the flick of a switch. Highlights are many: look out for an unbelievably brutal encounter in a Turkish bath-house (where Mortensen does battle in unconventional 'body armour'; a sex scene that brings DEAD RINGERS to mind (there's a very good reason for the chosen carnal position) and a brutal declaration of intent set in a trad barber's shop. This really is a treasure trove, both above and below its surface veneer
with Peter Suschitzky's excellent photography showing our capital city at its most menacing. Indeed, as we stepped out into the mild London evening, I couldn't help but think that the London we had just seen was possibly closer than we dared to imagine. Another great cinematic experience, but there is an admittedly minor complaint attached to this event. The previous evening's Gala Opening saw personal appearances from David Cronenberg and Naomi Watts. Would it have been too much for at least one of them to introduce the second screening? Watts did make an appearance on the red carpet outside some 15 minutes after the film ended, so her no-show beforehand was doubly infuriating. Vincent Cassel was also in town, so I guess no-one thought to ask him. The London Film Festival is the biggest event in our movie-going calendar. With a little more thought and effort it could be even more memorable.
I can't wait till this hits DVD. The theatrical showing I saw was hampered by a poor projection, small theater and noisy audience...AS far as his best film since CRASH, I did like it more than both HISORY OF VIOLENCE and SPIDER but I will have to see it again before I place it over EXISTENZE. Still it is definately one of his best films since CRASH.
ReplyDeleteI greatly admire Viggo, Naomi and Vincent and I thought they turned in fine work here...I am still a bit on the fence about the diary voiceovers but otherwise I thought it was masterful...
I rate EXISTENZ highly, and absolutely loved SPIDER. I will have to see EASTERN PROMISES again before I firmly commit to placing it above the aformentioned films, though. Sorry you saw the film under less-than ideal conditions.
ReplyDeleteHappily, it's been passed uncut for the general cinema release by the BBFC.