THE STORY – Dr. Friedrich Ritter and his wife Dora Strauch flee their native Germany in 1929, repudiating the bourgeois values they believe are corroding mankind’s true nature. On the isle of Floreana, Friedrich can focus on writing his manifesto, while Dora resolves to cure her multiple sclerosis through meditation. Their hard-won solitude, however, is short lived. They are joined by Margaret and Heinz Wittmer, who prove to be earnest, capable settlers. Next comes Eloise Bosquet de Wagner Wehrhorn a self-described Baroness and the “embodiment of perfection,” who arrives with two devoted lovers, an Ecuadorian servant, a wardrobe full of evening gowns, and plans to erect a luxury hotel. Between inclement weather, unruly wildlife, and a total lack of amenities, all three groups find life on Floreana arduous. But nothing will test their mettle more than the challenge of coexisting with desperate neighbours capable of theft, deception, and worse.
THE CAST – Jude Law, Vanessa Kirby, Sydney Sweeney, Daniel Brühl, Ana de Armas, Toby Wallace, Felix Krammerer & Richard Roxburgh
THE TEAM – Ron Howard (Director) & Noah Pink (Writer)
THE RUNNING TIME – 120 Minutes
In “Eden,” people look to escape modern society’s decay after the devastating impact of the Great War. In the late 1920s, the writings of Dr. Friedrich Ritter (Jude Law) spread across the new world. People eagerly followed along with the letters about Ritter and his wife Dora’s (Vanessa Kirby) exploits in Floreana in the Galápagos Islands. Now, others come to the island in search of new beginnings, whether it’s to help their family or find a way to make a profit. What seems like plenty of land for all to reap the rewards slowly turns into a threatening fight for survival, not only against the elements but a slew of personalities. Soon, the island brings out the most primal urges of everyone inhabiting it. Comparisons to “Lord of the Flies” have been linked to “Eden” since its premiere, and understandably so. Director Ronon Howard, who most likely was influenced by William Goldlings’s novel and the acclaimed film adaptation, has decided to pivot from his usual output with “Eden.” Howard and screenwriter Noah Pink have seemingly stripped the story of any nuance and applied it to a relatively untalked-about true story.
Undoubtedly, “Eden” is the most intriguing Howard has been behind the camera in years, probably crafting his best film since 2013’s “Rush.” It helps that the film feels like a stark departure from the filmmaker whose signature brand of traditional studio filmmaking was traded in favor of a far grimier and darker outing. A historical drama teetering on being a thriller that, at times, can be incredibly breezy makes Howard operate in a playful register, which benefits the star-studded ensemble. Law, often associated with his good looks and swooning charisma, has always excelled at playing nasty little freaks. His work earlier this year with “Firebrand” exemplifies why he should never be pigeonholed as a performer. In “Eden,” Law is a pretentious, toothless (he’s literally all gums) intellectual who slowly spirals the longer people keep pestering him. Sydney Sweeney, who’s also having a great year, delivers another quality performance where Howard has found the perfect equilibrium in accessing her scream queen specialty while also having her fit perfectly into a period drama. The star of the show, though, is Ana de Armas as Eloise Bosquet de Wagner Wehrhorn (or, as she prefers, The Baroness). It’s possible that her work in “Eden” might be her best performance yet. Here, De Armas chews up the scenery, delivering a deliciously evil performance as she goes all in, bringing an over-the-top camp fest that is the perfect charade for her true nature.
If any actors in “Eden” felt like they got shortchanged by the material, it would be Daniel Brühl and Vanessa Kirby, whose characters are sparingly used compared to some of the other stars who bask in the spotlight. Still, they make the absolute most of it whenever they are on screen. However, “Eden” ultimately suffers from having too many characters, all with rivaling motivations that Howard feels the need to flesh out individually. Howard takes his time to set up the staging of these different factions, their ambitions, etc., which causes the film’s somewhat bumpy start. It’s still intriguing, nonetheless, and after the groundwork is laid out, Howard sits back and starts having a blast. On a technical level, Howard’s reliability as a filmmaker is still up to par. Hans Zimmer’s score is pretty good, but he leans more toward the pantheon of background music than on life-altering compositions like his recent work on “Dune: Part Two.” Mathias Herndl’s cinematography is beautiful to look at, as his first feature film work captures the scale of the island itself and the fading facades from the actors’ lively expressions.
“Eden” suffers from the absence of certain characters and how much their presence brings to the film’s overall energy. It also feels like Howard is rushing to have everything wrapped up neatly, as you can see how everything will play out. Still, despite its flaws, “Eden” may be some of the most fun you’ll have with Howard’s work in recent memory (including “Thirteen Lives,” which is another well-constructed film). Howard has long been a reliable filmmaker who has worked the studio system effortlessly, for better or worse. As such, it’s nice to not only see him risk going outside of his typical conventions but also make the most out of it.
