#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In London, the Russian pregnant teenager Tatiana arrives bleeding in a hospital, and the doctors save her baby only. The Russian descendant midwife Anna Khitrova finds Tatiana’s diary written in Russian language in her belongings and decided to find her family to deliver the baby, she brings the diary home and ask her uncle Stepan to translate the document. Stepan refuses, but Anna finds a card of a restaurant owned by the Russian Semyon inside the diary and she visits the old man trying to find a lead to contact Tatiana’s family. When she mentions the existence of the diary, Semyon immediately offers to translate the document. However, Stepan translates part of the diary and Anna discovers that Semyon and his sick son Kirill had raped Tatiana when she was fourteen years old and forced her to work as prostitute in a brothel of their own. Further, Semyon is the dangerous boss of the Russian mafia “Vory v Zakone”, jeopardizing the safety of Anna and her family. Meanwhile, Semyon’s driver Nikolai Luzhin gets close to Kirill and Semyon, climbing positions in the criminal organization, but he helps Anna, her family and the baby.
Plot: A Russian teenager, living in London, dies during childbirth but leaves clues to a midwife in her journal, that could tie her child to a rape involving a violent Russian mob family.
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|7.6/10 Votes: 229,246|
|7.4 Votes: 2244 Popularity: 17.533|
“Eastern Promises” will take your breath away, churn your stomach, and then leave you with memories of unforgettable characters as well as perplexing thoughts about good and evil. David Cronenberg’s movie about Russian and Chechen mobsters clashing in London is more than violent – it is brutal, savage, shocking. But do not expect just an action film, exploiting blood and gore. After you shake off its terrific immediate impact (there is no way to think while watching it), you realize that “Eastern Promises” is also a kind of morality tale, complex and important.
Only after you hold your breath, cover your eyes, and get through the movie do you realize how “Eastern Promises” manages to contradict Friedrich Nietzsche effectively. The German philosopher’s “Beyond Good and Evil” denied the possibility of a universal morality. Cronenberg’s film says that ethics – without expectation of rewards, in this life or a possible other one – can prevail even in the depths of great evil. The “History of Violence” director continues his subtle, subtext theme of upholding Anne Frank’s belief that “in spite of everything people are really good at heart,” and he does so without a smidgen of sentimentality.
There is no goodness in evidence as Viggo Mortensen’s scary Russian mobster does every bidding of Armin Mueller-Stahl’s chilling godfather figure, ruling ruthlessly over a family, which includes his son, a monster out of control, played brilliantly by Vincent Cassel (son of Jean-Pierre Cassel).
During a pre-release press tour, Cronenberg spoke of his wish to present “provocative, juicy stories… with complexity… showing that all monsters are sentimental and have some kind of relationship to a moral compass.” That is all true, but what makes “Eastern Promises” so appealing is that there is no pop psychology (or worse, pop philosophy) in or about it. The film hits you over the head with its magnificently written story (Steven Knight, of “Dirty Pretty Things”), not with a message.
The title, on one level, refers to promises made to young women in Russia, luring them to the West, where the Mob enslaves them as prostitutes. It is one of these drugged and brutalized women whose death opens the film, and brings an English nurse (Naomi Watts) into the story.
As a multitude of promises, threats and tragedies unfolds, you get the maximum out of “Eastern Promises” with minimum advance knowledge of its story. Initially, that is. When you return to see it again, it won’t matter that you’ll know how it ends, you will want to re-experience what is certain to become a classic film. (“Eastern Promises” was shown at the Toronto Festival last week, opened in San Francisco today, goes nationwide on Sept. 21.)
Eastern Promises … and delivers
In a wet and dreary pre-Christmas London, an anonymous, distressed, 14-year old Russian girl staggers into Trafalgar hospital, on the verge of giving birth, hemorrhaging badly and with obvious heroine tracks on her arms. Pediatric nurse Anna (Naomi Watts) tries in vain to save both mother and baby, but in the end, all that remains is the newborn, and a diary written in Russian in the girl’s purse, that contains a business card for a Russian restaurant. Haunted by her own previous miscarriage, and determined that the baby girl not be sent to an orphanage, Anna attempts to have the diary translated in order to identify the anonymous girl’s family. In so doing, she becomes embroiled in the dark, seething world of crime, drugs, and prostitution of the Russian Mob. It is an enclosed, hot house society, where family loyalty and responsibility and adherence to the “vory v zakone” code of thieves are paramount, and shady characters like the “restauranteur” Semyon (Armin Mueller-Stahl), his son Kirill (Vincent Cassel) and his “driver” Nikolai (Viggo Mortensen) exist on the periphery of the law.
As a long-time fan of Cronenberg’s work, it is interesting for me to see his recent films grab the public attention in such a mainstream way. While it is true that both “A History of Violence” and “Eastern Promises” feature less obviously fantastic elements than, say, “The Fly” or “Scanners”, Cronenberg’s uniquely clinical and undramatic visual and storytelling style remain intact throughout all of his films. Nothing in a David Cronenberg film appears on- screen without a reason. He’s sort of the film-making equivalent of Ernest Hemingway: a deceptively simple, unflinching eye; a calm surface that somehow manages to get under your skin and hints at labyrinthine depths beneath. Cronenberg’s work always makes you uncomfortable, but here in “Eastern Promises”, it is done very subtly, almost subliminally, so you find yourself thinking about it afterward without realizing it.
The acting in Eastern Promises is uniformly excellent. Viggo Mortensen’s Nikolai, in particular, displays a still, coiled menace that is chilling and intense, which plays well against Vincent Cassel’s portrayal of the feral Kirill, whose confused and tortured attempts to live up to his father’s criminal expectations set the plot in motion, and Armin Mueller-Stahl’s stunningly nuanced performance as the crime boss Semyon: Satan dressed up as your favorite uncle at Christmastime. As Anna, unwittingly tossed into this den of serpents, Naomi Watts manages to be simultaneously vulnerable and tenacious in a role for which she will doubtless receive too little credit.
Cronenberg’s no-nonsense approach to violence is still in evidence here, from the shockingly bloody opening scene, to one remarkably brutal fight sequence that deserves to be written down in the annals of film history, and is so astonishing that it isn’t until afterward that you register the fact that Viggo Mortensen did the whole thing completely nude. But, in the end, it is the sinuous undercurrent of hope, the trickle of humanity that manages to somehow exist amongst these desperate characters, that sticks with me in this film. The writing hints at things rather than stating them, the muted “film noir” visual style enhances this, and even the “big plot twist” near the end of the story (that I wouldn’t dream of spoiling for you) is handled with the most minimalist of gestures. I swear, sometime soon David Cronenberg is going to discover the meaning of life in a black screen.
Original Language en
Runtime 1 hr 40 min (100 min), 1 hr 36 min (96 min) (Toronto International) (Canada)
Genre Action, Crime, Drama, Thriller
Director David Cronenberg
Writer Steven Knight (screenplay)
Actors Josef Altin, Mina E. Mina, Aleksandar Mikic, Sarah-Jeanne Labrosse
Country UK, Canada, USA
Awards Nominated for 1 Oscar. Another 28 wins & 73 nominations.
Production Company Serendipity Point Films
Sound Mix Dolby Digital, DTS
Aspect Ratio 1.85 : 1
Camera Arricam LT, Zeiss Master Prime Lenses, Arricam ST, Zeiss Master Prime Lenses
Laboratory DeLuxe (color), Deluxe EFilm Toronto (digital intermediate)
Film Length 2,744 m (Portugal, 35 mm), 2,745 m (Sweden)
Negative Format 35 mm (Kodak)
Cinematographic Process Digital Intermediate (2K) (master format), Spherical (source format)
Printed Film Format 35 mm, D-Cinema