A woman’s friendship with a new co-worker at the prison facility where she works takes a sinister turn.
Chuck says:
Director William Oldroyd creates the proper film noir vibe in bringing Ottessa Moshfegh’s novel “Eileen” to the screen, the movie blanketed by an overcast, seemingly damp hue throughout that reflects the dour, desperate existence of the title character. This is a mood piece that gets under your skin from the start, a chill settling in not simply because of the film’s autumnal look but also the dire, inescapable situations that develop. There’s little hope for Eileen and it becomes quickly apparent that rash decisions and actions are needed if she’s to have any life of her own.
“Eileen” casts a spell that’s inescapable, taking place in a seductive world accented by shadows, clouded by ever-present cigarette smoke, overshadowed by a constant threat of rain, all of which reflects the damaged souls that wander through it. The atmosphere created by Oldroyd, his cinematographer Ari Wegner and production designer Craig Lathrop is essential as it provides the impetus for much of what its characters do.
A sense of guilt is the only thing that compels Eileen (Thomasin McKenzie) to go to the dank juvenile prison where she works and continue living at home. She’s stuck caring for her abusive, alcoholic father (Shea Whigham), a former police officer on the road to dementia who has no problem telling her how worthless she is. However, with the hiring of Rebecca (Anne Hathaway), the new prison psychiatrist whose attire is more in tune with a night out at the Stork Club than her depressive surroundings, her workplace becomes a whole lot more interesting.
That the woman she’s always wanted to be suddenly martializes in front of her knocks Eileen back on her heels but only for a moment. Enamored and fascinated, she gives herself over to the seemingly glamourous and assured older woman, who willingly takes her under her wing, eager to…well, we’re not quite sure what Rebecca’s intentions are and while we make assumptions, they’re informed more by our own lurid ideas and what we’ve seen in other films of this sort.
The movie’s 97-minute running time is refreshing in this day of the bloated, meandering narrative, Oldroyd employing an example of narrative economy of the sort that’s regrettably gone out of style. The story benefits greatly from this approach, the viewer swept along as Eileen is, curious as to what Rebecca is all about and wondering just how she’ll extricate herself from her father.
Hathaway’s persona has always smacked of haughtiness, and she puts it to good effect here. Her icy, slightly condescending smile, the way she utilizes Rebecca’s sharply cut, sexy attire and the barely concealed disdain in her voice all contribute to the misplaced femme fatale she’s required to bring to life. McKenzie continues to impress, conveying Eileen’s longing and curiosity with her eyes, transforming herself from an awkward young woman into the lady she’s always longed to be. The actor proves convincing even when required to take her character to unexpected extremes.
Where the film goes during its third act is shocking and off-putting, a twist occurring that’s a bit hard to swallow. And yet, upon reflection, it’s all in keeping with the genre. The tragedies that take place in film noir hinge on the improbable, the unexpected, plans suddenly ruined at the whim of the gods. And while the circumstances here deviate a bit from the norm, they reveal the true nature of its two leads in a shocking manner. “Eileen” reminds us of the danger of getting what you wish for, its titular character coming to realize, in the most dangerous of ways, that looks can be deceiving.
3.5/4.0
