Hollywood seems obsessed with the end of the world. 'The Book of Eli,' the latest post'minus;apocalyptic flick following in the footsteps of films like '2012' (2009), is designed specifically to alarm audiences with its tale of a dystopian future.
Familiar Southwest scenery infused with CG destruction gives rise to the Hughes brothers' view of a world ravaged by a religious war 30 years past. The resulting 'hole in the sky' and scorching sun have destroyed civilization as humans know it, perverting both old and young into a new generation of illiterate, baseless people, most of whom wickedly bash heads to survive.
Against this stark landscape battles Eli (Denzel Washington) as he travels west on barren roads with resolute conviction, but with no known destination. An enigmatic character, he possesses tender compassion, yet pervasive distrust and capabilities for brutal violence. Stumbling into a somewhat revived ghost town, Eli encounters its dictatorial leader, Carnegie (Gary Oldman), whose search for a weapon in book form consumes his sinister actions. When it's discovered that Eli carries this book, a King James Bible, the two characters enter into a bloody struggle over its possession.
If the movie's deeply Christian subtexts aren't yet apparent, the film's end will knock viewers upside the head with a conclusion that has them pondering the significance for days to come. Some will find the second half of the movie to be pure Christian propaganda, with Eli as a clear Christ'minus;like savior defending the Word against evil. Others will see a perversion of Christianity at its worst, with Eli as a bloody crusader defending the Bible with a swift blade under miraculous circumstances.
Both of these readings can be justified by the way that the Hughes brothers approach the film. Similar to Quentin Tarantino's 'Kill Bill' series (2003'minus;2004), the cinematography combines Western'minus;styled shots with comic book'minus;like dramatic imagery. The first battle scene, between Eli and a group of road hijackers, occurs in silhouette against the scalding white sky, the camera peering up from a low angle to watch the black shapes struggle and the black blood fly. Stylistic choices, such as the filming of this scene, leave the religious aura around Eli romanticized yet violent, allowing multiple interpretations of his actions.
Though at times it veers into absurdity, the movie still keeps the audience engaged. As the plot progresses, Eli and Carnegie both develop into more archetypal characters, making the religious subtext as glaring as the sun above their heads. The smoldering friction between Oldman and Washington is clearly felt in the scenes in which guns aren't blazing.
The story of two men fighting over religion only occasionally rises to the talents of these magnificent actors. Written by Gary Whitta, 'Book of Eli' takes a wrong turn with the introduction of Solara (Mila Kunis), the daughter of Carnegie's lover. Solara is first sent to seduce Eli, but then becomes his traveling companion. The miscast Kunis stands out against the rugged landscape with her bleached white teeth, clear skin and manicured eyebrows.
The writers bring the audience back to reality with a few chuckles here and there, primarily from old cannibalistic couple Martha and George (Frances de la Tour and Michael Gambon). Eli and Solara stumble upon these two in their travels, and both actors play their characters with energy and humor.
'The Book of Eli' provokes thoughtful debate about the religious themes in the film, but the old'minus;time Western vibe also brings in a rare mix of philosophy and pleasure.
