The Book of Eli

The Book of Eli

Tell them Eli's coming and Heaven's coming with him.

(Warner Brothers) Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Michael Gambon, Frances de la Tour, Malcolm McDowell, Tom Waits, Evan Jones, Joe Pingue, Chris Browning, Lora Martinez-Cunningham. Directed by the Hughes Brothers

There are those who say that faith and religion are to blame for all the world’s troubles. There are also those who say that the world would be a savage place without them.

The world as we know it has come to an end. War has ripped a hole in the ozone, allowing the sun’s radiation to cook the Earth. It is the apocalypse, and as we all know from watching films set in the post-Apocalyptic era, the Earth turns into the Old West.

Down the dusty pock-marked roads that are all that is left of the Interstates comes a walker, a middle-aged man – something that is rare in this world where both the good and the bad die young – carrying a satchel and armed to the teeth, as would be prudent in a time where law and civilization have broken down. Darwin’s law has become the only law that is enforced.

The man is Eli (Washington) and he carries with him something very valuable. Not just the trinkets he’s been able to pick up, mostly from corpses and the already-stripped houses that remain standing, but something worth dying for…maybe even worth killing for. It is the King James Bible, and it may be the last one left. After the war had decimated the planet, many of those who remained on it blamed religion for the war and Bible-burning became the new national pastime.

Eli is a man to be reckoned with, lightning quick and merciless with knives, as a group of scavenging hijackers who mean to rob him and eat him find out. He is also merciful and compassionate with the weak, as the woman (Martinez-Cunningham) who was used as bait also discovers.

Eli comes to a small town which looks uncannily like Tombstone, Arizona, mostly to get supplies and to recharge a battery charger. While he’s waiting for the Engineer (Waits) who runs the general store to charge the battery, he goes across the street to the Orpheum bar to fill his canteen. Some rough and tumble sorts led by Martz (Jones) try to mess with him and wind up writhing on the floor or dead. The leader of the town, Carnegie (Oldman) is impressed and is anxious for Eli to join his group of enforcers. Eli is unwilling; he has business to the West to which Carnegie responds “There’s nothing west of here.” Carnegie isn’t the sort to take no for an answer so he has Eli sleep on it, whether he wants to or not.

Carnegie sends his girlfriend in, blind Claudia (Beals) with food and drink. He then sends in Claudia’s daughter Solara (Kunis) to tempt him with baser charms. Eli turns her down but she begs him to allow her to stay the night and give Carnegie the illusion that she had done as he asked; if he does not, she tells him, her mother will pay the price for her failure. Eli relents and allows her to stay.

The next morning Solara inadvertently lets slip that Eli is carrying with him a book. Carnegie goes ballistic – this is the very book he has been sending bands of illiterate marauders out to retrieve. With it he can control the remaining populace and act as a kind of post-Apocalyptic messiah. He has to have this book! He and his right hand man Redridge (Stevenson) go running into Eli’s cell, only to find him gone. He hasn’t gone far and after a brutal gun battle in which Carnegie gets hit in the leg, Eli escapes with Solara chasing after him, eager to get away from her existence in the town.

The enraged Carnegie takes nearly all his enforcers in what vehicles remain and head out after him. Eli believes he is on a divine mission to take the Bible to safety, but with such a man on his tail can Eli reach safety even with heavenly assistance?

While much about the movie is basic Post-Apocalypse 101 from the Old West-style towns, the rusting cars abandoned on highways that have collapsed, the desert-like environment to the abundance of trenchcoats and shotguns, the concept is unique. It is not your usual action-adventure type of film that is usual for this genre (although there is plenty of both); it is also meant to be an examination of faith and belief.

Kudos for screenwriter Gary Whitta and the Hughes Brothers for trying something a little daring. It is not an easy sale sometimes for secular Hollywood to take on themes of morality and faith, but they do so here. I’m sure the presence of Denzel Washington in the project had more than a little to do with the studio taking a chance on it.

Washington is perhaps the most movie star-like actor out there today. He has the kind of screen presence and charisma that gives him appeal not only to African-American audiences who revere him, but also to white audiences who respect him, female audiences who adore him and male audiences who want to be like him. He carries films in the same way that Clint Eastwood once did. In fact, this is the most Eastwood-like of Washington’s performances ever, as he plays essentially a man with no name and of few words who comes into a town, kicks ass and fights injustice. It’s the kind of role few have tackled since Eastwood hung up his gunbelt.

Kunis has been getting a lot of high-profile roles lately, and she has a great deal of potential, but in many ways this was the wrong part for her. She seems far more adept at light comedies and romantic roles than in action movies. However, I was pleased to see Jennifer Beals do so well in this movie; after Flashdance she never really regained the kind of attention that movie brought her, but she is a talented performer as she shows undeniably here. Ray Stevenson, who was last seen playing the comic book character the Punisher is also very strong as Carnegie’s lackey.

Gary Oldman plays villains with a great deal of panache and you get the feeling that he has more fun with them than he does with characters like Sirius Black from the Harry Potter movies. He is certainly playing a demagogue – when we first meet Carnegie he’s reading a biography of Mussolini – but he’s not completely unsympathetic.

I have to mention that there is a bit of a twist ending here, one I didn’t see coming which is somewhat unusual these days, and it elevates the movie in my opinion. However, it also must be said that because the filmmakers are showing a world in which the sunlight is much brighter, the whole movie has a washed out, colorless look that is at times distracting. I know it’s probably a realistic look and I understand what the filmmakers were going for, but just the same it did wear a little bit on me personally. Just sayin’.

I’m not going to say this is a pleasant little film because there’s a good deal of brutality in it, but I found it to be a pleasant surprise. It was much better than most of the critics I’ve read and heard from made it out to be. Denzel is a fine actor and an engaging screen presence and while I hesitate to say he can do no wrong, he has for sure not done wrong here.

REASONS TO GO: A very nice twist at the end. Washington does his best Clint Eastwood and is surprisingly good at it. Oldman is always an engaging actor.

REASONS TO STAY: The film has a bit of a washed-out feeling that lacks color, which I found to be a bit distracting after awhile. Once you’ve seen one post-apocalyptic landscape, you’ve seen them all.

FAMILY VALUES: There’s a great deal of brutality and some rough language. There’s also a suggestion of rape. Definitely not for the squeamish.

TRIVIAL PURSUIT: On the wall of the room in which Eli is kept prisoner at the Orpheum is a poster for A Boy and His Dog, another post-apocalyptic movie.

HOME OR THEATER: It’s a bit washed-out from a cinematography standpoint, so a smaller screen might lose some detail. See it in a theater just to be on the safe side.

FINAL RATING: 6/10

TOMORROW: The Darwin Awards

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