The Gospel of Eli

The Book of Eli reminds me of a story I once heard about a pastor who wore his Christian faith proudly. One day a knucklehead said

"So, if I slap you, you're going to turn the other cheek?"

The pastor gathered himself before stating with conviction, "Jesus Christ is my Lord and Savior, but if you slap me you will know I AM NOT JESUS CHRIST!"

The Book of Eli is a one hour and fifty-eight minute meditation on that anecdote. The Eli of the title is a righteous man but he is nothing nice. When he tells a highwayman that if he places his
hand on him again he will not get the hand back, he means it and follows through with brutal efficiency.

Rugged, world worn and taciturn, Eli (Denzel Washington) is on a mission from God, having received the call a year after something tore a hole in sky killing and blinding untold millions. Following that voice, he uncovers the last bible on earth and begins what will become a thirty years trek across a desolate post-apocalypse landscape - with no knowledge of where he is going but with an un-erring resolve to get there.

Brutal efficiency is also an apt description of The Book of Eli as directed by brothers Albert and Allen Hughes. With their muted palette of grays and sepia tones, the Book of Eli doesn't engage you so much as goose you with brief explosive bursts of efficiently choreographed violence followed by long dry stretches of stagnant exposition. Eli is bleak in both landscape and execution. A good chunk of the opening scene has no dialogue at all leaving us to see the world as Eli sees it - through sound, touch and faith.

Denzel Washington is iconic and moves through this movie like the cinematic monument he is. Eli is like an amalgam of his greatest hits, evoking everything from Glory to American Gangster. In this performance, there is the righteous determination of El-Hajj Malik El Shabazz (Malcolm X) and Reuben Carter (The Hurricane); the steely ruthlessness of Creasy (A Man on Fire) and Frank Lucas (An American Gangster); and the unbowed confidence of Trip (Glory) and Jake Shuttleworth (He Got Game). In fact, the movie evokes fond memories with a Trip-like moment involving Eli, a dead body and a pair of much needed new boots. No flogging ensues.

How you respond to the Gospel of Eli will depend on your Christian faith or lack thereof. It will either warm and inspire you or leave you completely cold. I find myself somewhere in the middle. While I enjoyed the movie overall, I found its pop evangelizing a little pushy. Further, it irked me that Eli often appeared to be the last black man alive. As he rolled through through desparate towns and over desolate highways, with few exceptions, he encounters nothing but haggard-looking white people.

Sure, Jennifer Beals has an extended role but she is so light-skinned that she plays the mother of Mila Kunis (who is an Angelina Jolie-esque revelation in this movie).

It is somewhat disheartening in a movie directed by two black directors and starring our greatest black actor to witness a future that still has no place for black people.

~(no)rave!