EASTERN PROMISES
UK/Canada, 2007, 101 minutes, Colour.
Viggo Mortensen, Naomi Watts, Vincent Cassel, Armin Mueller- Stahl, Sinead Cusack, Mina E. Mina, Jerzy Skolimowski.
Directed by David Cronenberg.
This is an excellent film. However, it is one that cannot be recommended without a caution. It is a picture of a Russian mafia-style group in London and there are some graphic scenes of sexual behaviour and, particularly, criminal brutality, that some audiences will not want to see,
Written by Steve Knight (a long way from Who Wants to be a Millionaire, which he co-devised), it is a companion piece to his gritty and alarming 2002 screenplay for Stephen Frears’ Dirty Pretty Things. That film, set in central London, focussed on deals and crimes for trafficking in organ transplants. This time, as has been said, the focus is on a criminal organisation which originated in Stalinist Russia and flourished in the gulags and prisons, its strict codes, its absolute ruthlessness. The story is interestingly and sometimes excitingly told by veteran director David Cronenburg (who also shot a grim film in London some years ago, Spider, with Ralph Fiennes).
This is a London which is both recognisable and hidden. Part of the hidden life is the traffic in human beings from Eastern Europe, the false promises (Eastern Promises) that are made to young girls who are smuggled into England and then lost in a world of prostitution. When one fourteen year old dies in childbirth, assisted by a midwife whose father was Russian, a tale that combines humane feeling with ugly manipulation and violence begins.
Naomi Watts is believable as the concerned nurse. Sinead Cusack appears as her mother and director Jerzy Skolimowski is impressive as her old-style, auxiliary KGB uncle whom she asks to translate the dead girl’s diary. When she visit the Trans- Siberian club run by a grandfatherly Armin Mueller- Stuhl, her suspicions are aroused when she encounters his dissolute son (a vigorous performance by Vincent Cassell) and the hired chauffeur, a man who seems to be emotionless and implacable, played very well indeed by Viggo Mortensen (who had appeared in Cronenberg’s A History of Violence as a completely opposite kind of character).
The son is a drunkard, cowed by his father who, despite the calm exterior, is in absolute control of the criminal activities and has no scruple is eliminating anyone in his way. There are some unexpected moves along the way which finally gives the film more complex perspectives. Cronenburg seems to be quite correct when he describes Eastern Promises as ‘a mob crime thriller intricately interwoven with familial dramas – all unfolding in a subculture that dwells within another very strong culture’.
1.The impact of the film? Acclaim? Tough, real, challenging?
2.The work of David Cronenberg over the decades, the focus on sombre issues, 21st century violence?
3.The London settings, authentic, central London, the hospital, the Russian club, the baths? Exteriors? The Christmas setting? The musical score – and the Russian songs?
4.London on the surface, London below the surface – the contrast of the different worlds? Respectability, crime, abuse? Human traffic?
5.The title, the focus on eastern Europe, the eastern European countries joining the Common Market, the after-effects of the collapse of communism? Migration, human traffic? The Soviet empire? The Mafia? Russian Mafia? Migrants? The various groups, the ghettos, the clubs? Culture and traditions? Celebrations, feasts, songs? Language issues?
6.Tania, her collapse, her injuries, the hospital, language difficulties, the birth of the child, her death? Anna and her caring for the baby? Calling her Tatiana?
7.Anna, her work, British Russian, her absent father, the relationship with her uncle, her uncle being old-school, background of KGB? The bonds with her mother, her mother’s care for her? Concern, past relationships, on her own, her work? Riding the bike? Her interest in the dead girl, caring for the baby? The diary, taking it, asking her uncle’s advice, his reprimanding her for taking it? Wanting the translation? The address, the club? Seeing Nikolai and Kyrill, their reactions, her reactions? Semyon and his receiving her? Discussions? Genial?
8.The character of Semyon, the Trans-Siberian? Club, the Christmas celebrations, the meals, the chefs, the kitchen, his control over his staff? The elderly people coming, singing the songs? A genial host? The discussions with Anna, the diary, offering to translate? Smooth manner with her? Below the surface? His reaction to Kyrill and his drunkenness, the criticisms of homosexuality? His harsh treatment of his son, shame? Keeping face? The criminal world, connections, smuggling alcohol? The truth about the girl, his raping her? The child his? His seeming to favour Nikolai over Kyrill? Giving him the responsibilities, the discussion in the kitchen, Kyrill waiting, going to get the bottles of alcohol? The committee, the initiation of Nikolai, his sending the killers to the baths, his ruthlessness, his revenge, saving his son? His arrest?
9.Nikolai as driver, his being a servant for Kyrill? Their being friends? Together, his being hard, seeing Anna, helping her with the bike, giving her a lift? Seemingly impassive? Kyrill and the sexual behaviour, observation? Nikolai and his treatment of the girl, trying to save her? The opening murder, the Barbar, (**??or was the barber?) killing the Russian, disposing of the body? Nikolai and the dealing with the body, Semyon’s orders, Nikolai cutting off the fingers – and the irony that this was the signal to the police? His advice to Anna, the initiation, the range of tattoos, their symbolism and significance, his contacting the police, the discussions, the truth about his undercover role? Going to the baths, wariness, the thugs coming to kill him, the naked fight? His winning? The concern about the child, following Kyrill? The baby and Kyrill at the river, saving the child? Saving Anna? His continuing his live undercover, his becoming the boss? A rounded portrait of a complex character? The absence of a past – and the information that he gave to the initiation group? True of not?
10.Kyrill, spoilt, alcoholic, arrogant, homosexual, his dependence on Nikolai? Coming drunk to his father, his father’s severe attitude? Sexual preoccupation? Voyeur on Nikolai? His reaction to the criticisms of homosexuality? Authorising the Barbars to murder the Russian? His father, saving face, his being sent down to the kitchen, to get the drink, the truth? His taking the baby? His death?
11.Anna, her concern, the interest from Nikolai, the lift, the bike, the discovery of the truth? Her confrontation of Semyon? Her uncle’s disappearance – and the revelation that Nikolai had saved him?
12.The uncle, KGB background, translation, sent to Edinburgh for safety?
13.The Chechnyan gang, thugs, the attack on Nikolai in the baths? Their defeat?
14.The rituals of the gangs? The Russian Mafia? Codes of honour?
15.The happy ending, Anna and the child, her mother caring for the child? Nikolai and the Russians – and his future?
