The Book of Eli
Post-apocalyptic stories have a certain resonance now. (“Now” defined as “post-Hiroshima.”) Given our predilection for lone men on missions to save humanity, this post-apocalyptic mankind-savior on a mission already has a foot in the door of our imaginations, and Denzel Washington remains one of the blockbuster names who delivers on more than one level, bringing multi-dimensional characters to the screen time and time again.
Creating a post-apocalyptic landscape shouldn’t be too difficult with a decent budget. Telling an absorbing story in that landscape, however, may not come quite as easily. The Hughes Brothers, as they’re billed, bring a green screenwriter’s story to life deftly, exhibiting a comprehension of the talent they have at their disposal (Denzel, Gary Oldman) and an ability to weave together an intriguing plot-line out of what could have been just another mangled story of unwarranted self-approbation.
Denzel plays the eponymous Eli, whose book is sought after by Oldman’s character, Carnegie. None of the characters have last names, a subtle nod to Biblical narrative of old. In fact, the film is replete with allusions to the Bible: Eli quotes several Biblical passages, praying “Dear Lord” in some scenes, and the book itself is a leather-bound tome embossed with a large cross, the pages of which we don’t see for quite some time. However many Biblical allusions there may be in the film (there are more than those listed here), the film is not about the Bible.
The Book of Eli is about The Book, which Eli carries multifariously, and the possible hope that this Book may hold for the inspiration of a new continuation of humanity. Along the way, Eli discovers that he may not be able to pursue his journey alone. Through a series of fortuitous mishaps, some “happy accidents,” Eli is accompanied by a proselyte of sorts, Solara (an obvious name), played fairly adequately by Mila Kunis, and together they tread a path both in pursuit of a grail, in a way, and in flight from those pursuing them. Carrying a veritable treasure, the written word, Eli and Solara trudge on, in hopes of bringing the Book to those who need it, reciting the Book itself, and quoting Johnny Cash when appropriate.
There are clear references (some more allegorical than others) to the aspirations of the missionary bringing salvation to those they find in need of it. Even so, the film is not about missionaries as such. The film is about purpose, transcendence, and the Golden Rule, qualities indicative of an ideal individual, perhaps. As Eli says to Solara when asked about the Book, “It’s about doing more for others than yourself. That’s what I learned from it anyway.” The Book is, of course, the Bible. However, the Bible is the Book of some particular religions, namely, Judaism and Christianity (though Islam has ties to it as well). Is it then worthless to those who don’t believe? Absolutely not. The Bible is a book capable of inspiration, religious or not.
The directors, in point of fact, are self-professed atheists, yet they make this film, with the Bible as a major facet (one might say a character, even). They seem to be saying there is more to the Bible than a religious document, though, of course, that is its central element. The Bible has a power over those who believe in its words (Word?), whether that power is intended for the betterment of oneself and others (Eli) or the empowering of the self over others (Carnegie). The history of humanity has been driven in many ways by religion, for better and for worse. Here, the power of the written word is made the central focus, and it is arguably safe to say that no written word has had more influence over society than the religious word.
So, is this an intellectual movie? If you understand it in the light of the history of civilization, then yes, it is an intellectually stimulating film. However, there is more to it than that. Much of this film will appeal to the cinematically inclined: the use of a glorified grey-scale for the duration of the film, allowing only shades of red to fully bleed through; the cinematography of the fight sequences, some of which are filmed almost entirely in silhouette; the uncanny celerity of the clouds overhead; or the use of extended takes in which the camera never cuts. There are cheesy moments near the end, and a few unexplained plot points, such as Eli’s preternatural fighting abilities. All in all, though, the Hughes Brothers have made a satisfying film, with equal parts action and intrigue for several different stripes of movie-goer. Bottom line: if you like post-apocalyptic films, men on missions, and Denzel, you’ll enjoy this one, too. Oh, and Gary Oldman is brilliant. As always.
Rating: 3/4 Stars