The post-apocalyptic wasteland in which ‘The Book of Eli’ is set is an arid, crater-drizzled dust bowl populated by heartless outlaws and starving peasants. This strangely familiar portrait of the future, desecrated and barren, is rendered utterly gorgeous. Composed of occasionally disarming images infused with biblical allusions and the welcome presence of a world-weary Denzel Washington, the Hughes brothers’ first film in nine years, despite its sparse setting, is one of the richest dystopian thrillers since ‘Children of Men’ (2006).

Trekking across the country for 30 years has taken its toll on the machete-wielding protagonist, the humble Eli (Washington), whose massive scars attest to his plight and resilience. He carries, in a curiously durable Oakley knapsack, a stash of reliable weapons and his indispensable canteen (water has become the rarest and thus most valuable commodity on earth), but most importantly, the last copy of the Bible in existence.

The occasional band of desperate thieves hardly perturbs Eli, but a pit stop in a boomtown governed by the venomous Carnegie (Gary Oldman) proves to be cataclysmic. A literate man who believes that obtaining the Bible, and subsequently preaching its gospel, will allow him to spread his rule, Carnegie pursues Eli ruthlessly with a small army of henchmen. Though he has acquired a dutiful companion in Solara (Mila Kunis), Carnegie’s servant, Eli is disadvantaged and does not intend to part with The Bible until he finds a suitable home for it.

The Hughes brothers had been absent from the medium since ‘From Hell’ (2001), their lukewarmly received tale of a detective’s (Johnny Depp) pursuit of Jack the Ripper. They return with their most accomplished work since their unforgettable debut feature, ‘Menace II Society’ (1993). Filmed in a highly affected style marked by differing degrees of bleak, gray hues, the Hughes brothers wield the piercing radiance of sunlight as a weapon of sensorial disruption. The brothers are similarly at their best when toying expertly with the presentation of shadows in daytime and staging brilliant fight scenes beneath bridges and in dim saloons.

The film’s religious ideals are certainly questionable, and it devolves into the realm of melodrama as the story expires. But these imperfections are to be expected from a picture with such grand themes. A climax overwrought with swooning orchestral notes lessens the unpretentious intensity of the picture somewhat, though it’s grounded by Washington’s natural cool and unerring grit. Similarly, Oldman, in his best role since ‘The Contender’ (2000), saves what might otherwise have come off as a fanatically religious picture by projecting an evil born simply of the desire for power. Oldman’s character Carnegie, merely wants control, not the brand of devout religious rule that incited so many wars, including what Eli implies as that which nearly eradicated humanity.

Resembling more closely a revisionist Western than a prototypical action film in its utilization of a harsh environment defined by lawlessness, ‘The Book of Eli’ is somewhat jarring entertainment. Where comparably successful, hyper-stylish action pictures rely on their unique visual eccentricities to lure audiences, the Hughes brothers’ vision is unabashedly monochrome, wholly dependent on the vision of the filmmakers and the formidable skill of stars Denzel Washington and Gary Oldman. The Hughes’ vision might be flawed, and Washington’s role is not exceptionally meaty, but their work is accomplished. Indeed, it sets the bar inordinately high for the more glamorous action films scheduled to proceed it this year.

smlittma@syr.edu

Published on January 20, 2010 at 12:00 pm