One of the most prevalent stereotypes associated with various European cultures is the notion that malevolent forces—whether manifested as barbarian hordes, devastating plagues, strange religions, or oppressive empires—often originate from the East. This stereotype has influenced numerous works of literature and film, including the narratives crafted by J.R.R. Tolkien. In 2007, British screenwriter Steven Knight, either conciously or subconsciously, adapted this thematic lineage into Eastern Promises, a crime thriller directed by David Cronenberg that has since been hailed as one of the most significant contributions to his oeuvre.
Set in London, Eastern Promises follows Anna "Anya" Ivanovna Khitrova, a midwife portrayed by Naomi Watts. The story begins with Anna tending to Tatiana (Sarah-Jeanne Labrosse), a 14-year-old girl who tragically dies during childbirth, leaving behind a newborn daughter. Driven by compassion and a sense of responsibility, Anna resolves to locate the baby’s relatives. The only clues to Tatiana's identity are a diary written in Cyrillic—one that Anna cannot read despite her Russian heritage—and a business card leading to Semyon (played by Armin Mueller-Stahl), the owner of a high-end restaurant who is also a significant figure in the Russian mafia. As Anna’s inquiries unfold, they inadvertently place her life in jeopardy; Semyon is deeply involved in underage prostitution and trafficking while dealing with escalating feud with rival gangs. Compounding his troubles is his son Kirill (played by Vincent Cassel), whose reckless lifestyle and penchant for alcohol further destabilise their criminal enterprise. Nikolai Luzhin (played by Viggo Mortensen), Semyon’s driver and “cleaner,” emerges as an enigmatic figure who appears to have his own motives for warning Anna against becoming entangled in their violent world.
Cronenberg has built a reputation for films characterised by graphic violence and disturbing themes, often featuring characters that are morally ambiguous or grotesque. However, Eastern Promises marks a departure from this trend; while it contains moments of intense violence reminiscent of his earlier work A History of Violence, it adheres more closely to conventional narrative structures. The film features two particularly brutal scenes that capture audience attention—not solely for their graphic content but also for their unique presentation; one scene notably combines male nudity with martial arts choreography, shifting focus from sheer violence to the artistry of the fight itself.
This newfound inclination towards conventional storytelling may stem from Cronenberg’s choice of subject matter, which aligns more closely with traditional gangster films laden with familiar stereotypes about the Russian mob that have plagued Hollywood since the end of Cold War. What sets Eastern Promises apart is Knight’s script, which offers an insightful exploration of organised crime from the perspective of its participants rather than merely portraying them as villains. The screenplay reflects extensive research aimed at presenting an authentic depiction of a criminal organisation steeped in dark history and exotic rituals akin to those found within Italian mafia or Japanese yakuza narratives.
Viggo Mortensen’s commitment to his role as Nikolai is commendable; he undertook significant preparation that included studying Russian organised crime and its cultural nuances, alongside a trip to Russia to immerse himself in the character's background. Mortensen’s portrayal is marked by minimal dialogue yet powerful physicality—his character's true motives and moral compass remain shrouded in mystery for much of the film.
Mortensen’s performance is so commanding that it often overshadows those of his co-stars. Naomi Watts delivers an earnest portrayal of Anna, whose innocence contrasts sharply with the malevolence surrounding her. Armin Mueller-Stahl embodies Semyon with a grandfatherly charm that belies his ruthless nature, while Vincent Cassel’s Kirill presents a troubled character caught between loyalty to his father and his own destructive tendencies. Despite their strong performances, they often feel secondary to Mortensen's magnetic presence.
Cronenberg’s directorial prowess shines through as he utilises Peter Suschitzky's cinematography to craft a dark vision of London—a city whose cosmopolitan facade conceals a seedy underbelly rife with crime and brutality. The film captures an unsettling atmosphere where danger lurks just beneath the surface, effectively immersing viewers in this hidden world.
However, when comparing Eastern Promises to A History of Violence, it becomes evident that the former falls short in certain areas. Much of this can be attributed to its script, which occasionally resorts to convenient coincidences that undermine its narrative integrity—such as a side character possessing KGB connections solely to provide necessary exposition. Additionally, a “clever” plot twist towards the end feels contrived rather than organic, detracting from the film's overall impact. While Eastern Promises attempts to carve out its own identity within the genre, it ultimately adheres too closely to predictable resolutions and tropes.
Eastern Promises stands as a multifaceted film that combines thrilling storytelling with profound character studies. As one of Cronenberg's finer works, this film remains a significant contribution to contemporary cinema that challenges viewers to confront their perceptions of good and evil within an unforgiving world.
RATING: 7/10 (+++)
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