The Book of Eli (2009)
Warner Brothers Pictures
Denzel Washington stars in “Book of Eli.”
A road warrior of a different sort, the title character played by Denzel Washington in “The Book of Eli” spends much of the story traveling by foot across an eerie landscape, a long and quick knife at the ready. The brown, dusty environs look familiar and not, dotted with abandoned cars and the occasional corpse. When Eli pauses, the camera settles near his feet, and the sky opens above him like a sheltering hand. With his green jacket and unsmiling mouth, he looks like a veteran of an unknown war, a soldier of misfortune — though, given the fog of religiosity that hangs over the movie, he might be an avenging angel.
This is the first movie directed by the talented twins Allen and Albert Hughes since “From Hell,” their torpid, predictably hyperviolent 2001 take on Alan Moore and Eddie Campbell’s graphic novel about Jack the Ripper. Although this new one has its comic-book qualities, good and bad, the Hugheses have stanched the blood in “The Book of Eli,” making it easier to pay attention to what else is happening on screen. They stage an early fight, for instance, entirely in silhouette, so that the arcs of spurting gore appear black, not red. Like all the fight sequences, this one is highly stylized: set inside a tunnel with the camera low and the sky serving as an illuminated backdrop, it looks like a page out of a comic come to animated life.
The graphic simplicity of this scene works not only because it’s visually striking, but also because it’s a part of a meaningful piece in a story in which everything, nature and civilization included, has been stripped away. Much like the land and narrative he travels through, Eli has been similarly reduced. A loner, he doesn’t speak much, even to himself. During the first few minutes of the movie, which opens in some barren woods with either falling snow or ash, he remains silently fixed on his task: bagging a pitifully thin cat. His first companion is a mouse (he offers it some roast cat), a creature that proves friendlier company than most of the isolated people he encounters, the majority of whom, as in “The Road,” would like to cook him over a fire.
Shooting in high-definition digital (with the Red camera) and working with the cinematographer Don Burgess (a frequent shooter for Robert Zemeckis), with New Mexico standing in for America, the Hugheses have created a plausible post-apocalyptic world, one that draws from the western (Hollywood, Sergio Leone) and the tradition of science-fiction dystopia. As George Miller proved in his brilliant “Mad Max” cycle — one of the Hughes brothers’ more overt cinematic touchstones here — and as Quentin Tarantino reaffirmed with his two “Kill Bill” films, the western can be reconfigured to suit any number of contexts, themes and warriors. (In one scene, when Eli settles into a room, a poster for the 1975 cult film “A Boy and His Dog,” another post-apocalyptic fairy tale, hangs on the wall behind him.)
After hunting the cat, a little human mayhem and a lot of atmospheric preambles, Eli wanders into a deadwood town and the story kicks into gear, for better if sometimes for disappointing worse. The happiest development is the introduction of Gary Oldman as Carnegie, the leader of the outpost. Fortified by his thugs, including some bulging muscle called Redridge (Ray Stevenson, from the HBO show “Rome”), Carnegie keeps the peace, doling out the scarce supplies to the ragtag inhabitants. Among the few faces that stand out from the squinting, scurrying horde are a Mr. Fixit (an amusing Tom Waits); Carnegie’s lover, Claudia (a sympathetic Jennifer Beals); and her daughter, Solara (the miscast Mila Kunis), who despite the deprivations, appears to have swung by a Beverly Hills salon for an eyebrow wax.
Mr. Oldman gives the movie, which at its most serious veers into lugubriousness, a nice jolt and a flinty presence that Mr. Washington can spark against. But the story that the two play out, beat by beat, cliché by cliché, rarely rises to their talents. Written by Gary Whitta, with some rewriting by Anthony Peckham, the story takes a wrong turn once Solara enters the picture, first as bait for Eli (he doesn’t bite) and then as his unwanted traveling companion. Ms. Kunis can work on the big screen, as she proved in “Forgetting Sarah Marshall.” But, dressed up in clothes that look as if they had been distressed for sale in a TriBeCa boutique, her white, white teeth shining and glossy hair swinging, she is flatly absurd.
Ms. Kunis isn’t to blame. As Jessica Rabbit says, with knowing wit, in “Who Framed Roger Rabbit”: “I’m not bad. I’m just drawn that way.” Even so, despite Solara and her manicured brows, and the increasingly pro forma action — Eli has what Carnegie wants, and so the bad man gives rabid chase — the movie keeps you watching and generally engaged. There’s a ticklish interlude at a house where Eli and Solara encounter a fine pair named Martha and George, played with energy and inviting humor by Frances de la Tour and the invaluable Michael Gambon. Despite the air of unease and wary glances, when George cranks up a phonograph, and the disco song “Ring My Bell” pours out, you’re happily, goofily hooked.
“The Book of Eli” is rated R (Under 17 requires accompanying parent or adult guardian). The usual dystopian violence.
This is the first movie directed by the talented twins Allen and Albert Hughes since “From Hell,” their torpid, predictably hyperviolent 2001 take on Alan Moore and Eddie Campbell’s graphic novel about Jack the Ripper. Although this new one has its comic-book qualities, good and bad, the Hugheses have stanched the blood in “The Book of Eli,” making it easier to pay attention to what else is happening on screen. They stage an early fight, for instance, entirely in silhouette, so that the arcs of spurting gore appear black, not red. Like all the fight sequences, this one is highly stylized: set inside a tunnel with the camera low and the sky serving as an illuminated backdrop, it looks like a page out of a comic come to animated life.
The graphic simplicity of this scene works not only because it’s visually striking, but also because it’s a part of a meaningful piece in a story in which everything, nature and civilization included, has been stripped away. Much like the land and narrative he travels through, Eli has been similarly reduced. A loner, he doesn’t speak much, even to himself. During the first few minutes of the movie, which opens in some barren woods with either falling snow or ash, he remains silently fixed on his task: bagging a pitifully thin cat. His first companion is a mouse (he offers it some roast cat), a creature that proves friendlier company than most of the isolated people he encounters, the majority of whom, as in “The Road,” would like to cook him over a fire.
Shooting in high-definition digital (with the Red camera) and working with the cinematographer Don Burgess (a frequent shooter for Robert Zemeckis), with New Mexico standing in for America, the Hugheses have created a plausible post-apocalyptic world, one that draws from the western (Hollywood, Sergio Leone) and the tradition of science-fiction dystopia. As George Miller proved in his brilliant “Mad Max” cycle — one of the Hughes brothers’ more overt cinematic touchstones here — and as Quentin Tarantino reaffirmed with his two “Kill Bill” films, the western can be reconfigured to suit any number of contexts, themes and warriors. (In one scene, when Eli settles into a room, a poster for the 1975 cult film “A Boy and His Dog,” another post-apocalyptic fairy tale, hangs on the wall behind him.)
After hunting the cat, a little human mayhem and a lot of atmospheric preambles, Eli wanders into a deadwood town and the story kicks into gear, for better if sometimes for disappointing worse. The happiest development is the introduction of Gary Oldman as Carnegie, the leader of the outpost. Fortified by his thugs, including some bulging muscle called Redridge (Ray Stevenson, from the HBO show “Rome”), Carnegie keeps the peace, doling out the scarce supplies to the ragtag inhabitants. Among the few faces that stand out from the squinting, scurrying horde are a Mr. Fixit (an amusing Tom Waits); Carnegie’s lover, Claudia (a sympathetic Jennifer Beals); and her daughter, Solara (the miscast Mila Kunis), who despite the deprivations, appears to have swung by a Beverly Hills salon for an eyebrow wax.
Mr. Oldman gives the movie, which at its most serious veers into lugubriousness, a nice jolt and a flinty presence that Mr. Washington can spark against. But the story that the two play out, beat by beat, cliché by cliché, rarely rises to their talents. Written by Gary Whitta, with some rewriting by Anthony Peckham, the story takes a wrong turn once Solara enters the picture, first as bait for Eli (he doesn’t bite) and then as his unwanted traveling companion. Ms. Kunis can work on the big screen, as she proved in “Forgetting Sarah Marshall.” But, dressed up in clothes that look as if they had been distressed for sale in a TriBeCa boutique, her white, white teeth shining and glossy hair swinging, she is flatly absurd.
Ms. Kunis isn’t to blame. As Jessica Rabbit says, with knowing wit, in “Who Framed Roger Rabbit”: “I’m not bad. I’m just drawn that way.” Even so, despite Solara and her manicured brows, and the increasingly pro forma action — Eli has what Carnegie wants, and so the bad man gives rabid chase — the movie keeps you watching and generally engaged. There’s a ticklish interlude at a house where Eli and Solara encounter a fine pair named Martha and George, played with energy and inviting humor by Frances de la Tour and the invaluable Michael Gambon. Despite the air of unease and wary glances, when George cranks up a phonograph, and the disco song “Ring My Bell” pours out, you’re happily, goofily hooked.
“The Book of Eli” is rated R (Under 17 requires accompanying parent or adult guardian). The usual dystopian violence.
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