Wednesday, February 29, 2012

Harris, Auteur Theory in Eastern Promises (2007)

"Nikoli's Tribunal"
(Viggo Mortensen)
In the majority of David Cronenberg films,
Cronenberg focuses on numerous themes, such as sexuality, the duality of the human mind, and  deconstruction of the human body. The theme of the deconstruction of the human body can be found in The Fly (1986) and A History of Violence (2001). Hence, Cronenberg's signature, or auteur, on film can be seen in his complex and explicit scenes of violence.  For example, The Fly (1986) is a science fiction film, which revolves around a scientist (Jeff Goldblum), who turns himself into a fly by accident. Throughout the film, the audience can see the gradual progression of Goldblum's transformation from a human into a life sized fly. Similarly in A History of Violence (2001), there is a scene where Tom Stall/Joey Cusack (Viggo Mortensen) fights off his brother's bodyguards. In this scene, sound effects of bone crushing and excessive blood splattering reinstates Cronenberg's fascination of the deconstruction of the human body.

Nearly six years later, Cronenberg incorporates the theme of the deconstruction of the human body in Eastern Promises (2007). The film tells the story of a young teenager, Tatiana (Sarah Jeanne Labrosse), who was sex trafficked into London by the Russian Mob (Vory v Zakone), becomes impregnated by rape, and later dies in childbirth. However, there are many sub plots in this film, which later entangles a midwife, who delivers Tatiana's baby, Ana (Naomi Watts), and the chauffeur of the Vory v Zakone, Nikoli (Viggo Mortensen). Mortensen was later praised for his role by many critics and was nominated Best Actor for the Academy Awards.

There three pivotal scenes where Cronenberg shows his auteur, or directorial signature:
"Nikoli's Tribunal," "The Initiation," and "The Sauna Fight Sequence." In the photograph above called "Nikoli's Tribunal," the audience can see Nikoli's tattoos, which tell his life story on his body. According to the Vory v Zakone, a person's life is told through their tattoos and if you don't have tattoos then that person does not exist. Hence, in "Nikoli's Tribunal," Cronenberg begins the descent of the deconstruction of Nikoli's character. In this tribunal scene, it is revealed that Nikoli has done some time in prison for petty crimes and received his tattoos there. In addition, to be awarded with "stars" (the emblem for the Russian mafia) is a great honor and allows him to become an official member of the group. Ironically, this scene gives the audience a character background story on Nikoli and how he is about to be used in an exchange for the leader's son, Kirill (Vincent Cassel).

"The Initiation" 
 In the second scene where Cronenberg leaves his signature is "The Initiation." In this scene, Nikoli gets approved by the board members and his awarded his "stars." As we can see in the picture, the tattoo artist painfully inscribes with black ink Nikoli's stars on his kneecaps and later his collar bones. Even though, there is no blood spilling or  bone crushing happening, there is a change in identity, which adds to the deconstruction of the character. Nikoli is no longer just a petty thief from the streets of Moscow, but an elevated crime authority figure in the Vory v Zakone.

"The Sauna Fight Sequence"
The last scene where Cronenberg leaves his signature is "The Sauna Fight Sequence." In this scene, Nikoli violently fights for his life against Sokya's brothers, who are from the mountains of Serbia. In this fighting sequence, critics drew parallels from Cronenberg's A History of Violence  (2001) sequence when Tom Stall/ Joey Cusack has to take down his brother's bodyguards. Like the previous sequence, there is a tremendous amount of blood spilling. For example, after doing hand to hand combat, Nikoli kills one of the brothers by planting the head on top of the piercing knife. Then, while crawling over one of the presumed dead brothers, the other brother wakes up and begins to fight with Nikoli. Once Nikoli grabs the absent knife, he violently stabs the other brother in his eye and blood spills out.













2 comments:

  1. I found your blog from the perspective of the auteur theory very interesting. Director Cronenberg’s signature of sexuality, the duality of the human mind, and deconstruction of the human body is shown in rhyming elements throughout the movie. Did you notice how the blood spilling scenes occur consistently to demonstrate how ruthless men can be and this could be a reality in real life too. Another brilliant auteur of Cronenberg is the portrayal of Nikolai’s character in duality shifting between good and evil.

    One side of Nikolai’s character shows him as a kind human being and fighting behind the scenes for the injustice done to good innocent people. The other side of Nikolai’s character shows him as a menacing, ruthless, and cold Russian mafia. Your description about the bathhouse scene was a true auteur Cronenberg classic, especially the part where Nikolai is pinned down and he reaches for the knife and stabs one of the thugs with it in the eye and the blood spills out on the floor.

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