Anne Hathaway’s latest venture, “Eileen,” an adaptation of Ottessa Moshfegh’s Booker Prize-shortlisted novel, sets out to be a psychological thriller with a twist. Directed by William Oldroyd, the film situates itself in the 1960s in Massachusetts, presenting a narrative woven with themes of desire, identity, and transgression.
Hathaway, taking on the role of Rebecca, brings a nuanced performance that stands out in her career. Her character is a bombshell, bursting into the monochrome life of the film’s protagonist, Eileen, played by Thomasin McKenzie. Hathaway’s portrayal is finely balanced, demonstrating her ability to embody complex characters. She exhibits a magnetic presence that is both alluring and enigmatic, holding the viewer’s attention throughout.
Thomasin McKenzie’s Eileen is the lens through which we view this world. Her portrayal of a young woman navigating her mundane life while caring for her alcoholic father (played convincingly by Shea Wigham) adds depth to the narrative. McKenzie’s performance, however, seems inconsistent at times, particularly in her accent work. This inconsistency slightly detracts from the character’s authenticity, though it does not completely diminish the emotional impact of her journey.
Wigham, in his role as Eileen’s father, delivers a haunting performance, encapsulating the despair and destructiveness of addiction. His character’s interactions with Eileen add a layer of complexity to the film, highlighting the often-overlooked dynamics of familial relationships in such circumstances.
William Oldroyd, who made a striking impact with “Lady Macbeth,” attempts to recreate his magic with “Eileen.” He initially sets up a narrative brimming with psychological tension and undercurrents of unspoken desires. The film, in its early stages, is a compelling exploration of identity and attraction, reminiscent of the subtleties seen in Todd Haynes’s “Carol.”
However, Oldroyd’s direction seems to falter as the story progresses. The initial psychological complexity gives way to a less satisfying crime plot. This shift in narrative focus causes the film to lose some of its initial intrigue and depth, leaving the viewer longing for the more nuanced exploration promised at the start.
The screenplay, co-written by Moshfegh and Luke Goebel, begins with promise. The setup invites viewers into a world of intrigue and unspoken tensions. However, as the story unfolds, the narrative loses its initial complexity. The film’s transition into a crime plot feels abrupt and somewhat disjointed, leaving many psychological elements underexplored.
The film’s portrayal of queer desire, while initially intriguing, doesn’t fully realize its potential. The subtle exploration of Eileen’s attraction to Rebecca raises important questions about identity and desire, yet these themes are not fully fleshed out. The film shies away from a deeper exploration of its queer elements, which could have added a richer layer to its narrative tapestry.
The cinematography in “Eileen” plays a crucial role in setting the tone. The film’s visual language, characterized by muted colors and stark contrasts, effectively conveys the bleakness of Eileen’s world. However, the occasional bursts of stylistic flourishes, while visually appealing, seem somewhat disjointed from the overall narrative.
The music in “Eileen” is another aspect where the film shows potential yet falls short. The score, at times, is striking and adds to the film’s atmosphere. However, its inconsistent application throughout the film creates a sense of dissonance, detracting from the cohesiveness of the narrative experience.
“Eileen” is a film that tantalizes with its potential but ultimately leaves the viewer wanting more. Hathaway’s performance is a highlight, showcasing her ability to delve into complex characters. The supporting cast, particularly Wigham, adds depth to the narrative. However, the film’s shift from a psychologically complex thriller to a less engaging crime plot, along with the underexplored themes of queer desire, results in a narrative that feels somewhat incomplete.
William Oldroyd’s direction, while showing flashes of brilliance, does not consistently deliver the depth and complexity that the initial setup promises. The film’s aesthetic elements, though striking in parts, do not fully compensate for the narrative shortcomings.
“Eileen” is a film with moments of brilliance that unfortunately do not coalesce into a fully satisfying whole. Its exploration of identity, desire, and transgression, while intriguing, remains underdeveloped, leaving the viewer with a sense of unfulfilled potential. Hathaway’s and Wigham’s performances stand as the film’s saving grace, making it a worthwhile watch for those moments alone.
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