Promises Fulfilled

With bone-crunching punches and flesh-splicing violence, Eastern Promises is undoubtedly a satisfying experience for buzz-seeking movie-goers.

On the surface, the film is a textbook thriller, but the fine psychological drama dwells beneath as director David Cronenberg (A History of Violence) brings a not-so-unexpected depth to the picture.

The main catalyst for the plot comes when Anna (Naomi Watts, The Painted Veil), a mild-mannered English midwife, is given a baby that came from a young prostitute who died giving birth.

The only clue is a Russian diary written by the late prostitute. Anna goes to her Russian-born uncle for translation, but the man is turned off by the idea of involving himself in the world of a prostitute.

Anna finds a second translator, a restaurant owner named Semyon (Armin Mueller-Stahl, Leningrad). Cronenburg also introduces Semyon's drunken, obscene son Kirill (Vincent Cassel, Ocean's 13). Kirill's driver Nikolai is played by Viggo Mortenson (Alatriste) and, as it turns out, this little diary bears a great deal of significance.

Inevitably, Promises lends itself to comparison of the other Cronenberg/Mortenson vehicle, A History of Violence. While Violence has some truly powerful scenes mixed with melodrama, clich?(c)s and a weak third act, Promises plays it straight, avoiding "wink-wink" scenes, such as the bully sequences, letting the drama speak for itself.

There are several themes that run throughout the movie, but most prevalent is that of identity. Reminiscent of Violence, the characters in this film put on a front to the world that is disconnected from their true selves, and are forced to confront the difference.

The script by Steven Knight (Amazing Grace) is captivating. The plot twists and turns abound, and on that basis alone Promises is worthwhile.

But what brings this film to a level above 'good thriller' is the character drama. Anna is convincing and Watts does an adequate job, but the character doesn't prove to be the real center of interest.

Mortenson, as expected, turns in the key performance as the multi-layered Nikolai. Cronenberg and Mortenson work well as a team because, like all great actor/director pairings, they work on the same rhythm.

They both know how to make an audience uncomfortable; Cronenberg can turn a boring scene into a suspenseful one, while getting laughs out of extreme violence. Mortenson's acting style is quiet and moody, and he has a face that can't be read.

The result is an audience that's left to fill in the gaps and reach their own conclusions. Cronenberg made his name with his bodily horror films of the 80s, and he hasn't lost his instinct.

The violence, physical and psychological, in Promises is obscene, gross and realistic. While it's certainly not for the faint of heart, the violence doesn't feel excessive.

Supporting actor Mueller-Stahl is brilliant, menacing and a somewhat terrifying force whose voice barely registers above a whisper. Even Jezry Skolimowski turns in a nice performance as Anna's Uncle Stepan. He functions as comic relief; his lines involving the KGB are laugh-worthy while still being vital, not becoming a caricature.

The open-ended conclusion will leave a bad taste in some viewers' mouths. If unsatisfied, however, consider the ending not in terms of plot, but in terms of what the characters have chosen and where those choices will lead them.