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Currently pursuing a film career with a passion for film journalism, storytelling of any kind has allowed me to let my imagination run wild in ways even I couldn’t predict. Expect me to write about film, TV, and the entertainment industry.
Coming-of-age is a timely genre that is always relevant regardless of the period a film takes place in. There is something deeply human and engaging about seeing characters experience similar life scenarios you have gone through, especially during puberty. As relatable as the genre can be, it can open the door to alarming actions when pushed to your limit. William Oldroyd’s Eileen — an adaptation of Ottessa Moshfegh’s novel of the same name — presents us with a dark reality. What happens when you kick a young woman to the ground and make her resent her life? What kind of potentially dangerous thoughts can that lead somebody to have, and are they justified?
A young, sexually frustrated Eileen Dunlop (Thomasin McKenzie, Last Night in Soho) works as a secretary at a local prison in 1964’s Massachusetts. Her repetitive life is made bitter by her drunken father, Jim Dunlop (Shea Whigham, The Righteous Gemstones), always embarrassing her. She becomes enchanted by Rebecca (Anne Hathaway, Armageddon Time), the glamorous new prison counselor. Rebecca represents a means to escape from Eileen’s mundane routine. However, their growing friendship takes a turn when Rebecca reveals a dark secret that sets Eileen on a sinister path.
Shades of Gray
Eileen carries a timeless tale of womanhood, suppression, and resentment told through the lenses of 1960s America. The time in which Eileen’s narrative takes place is quite significant as this era saw an increase in the U.S. female population joining the workplace. Though a step in the right direction, the 1960s also saw women dealing with pay inequality and even more harassment. These elements become pivotal in Eileen because they set the tone that helps us understand our lead character’s complicated headspace.
The director of photography Ari Wegner’s (The Power of the Dog, Zola) vision of the 1960s feels authentic to the time and Eileen’s arc. Eileen’s world is rather gray, lacking color, so Wegner uses gorgeous shades of gray to externalize her psyche. It immerses us in her mundane lifestyle, especially when we spend time in her household covered in shadow. This is almost as if foreshadowing the sinister path she will put herself in. The use of shadows and muted colors improves when Wigner utilizes vibrant colors via Rebecca.
As soon as Rebecca enters the picture, Eileen’s world brightens up, partially, at least. Production designer Craig Lathrop (The Witch, The Lighthouse, The Devil All the Time, The Northman) and costume designer Olga Mill use vibrant reds and neon colors through props and wardrobe to symbolize Rebecca’s role in Eileen’s arc, rebel against the rules. Rebecca’s red car and colorful attire are sexy, dangerous, and classy, just like Hathaway’s character is. Yet, it isn’t simply a stylistic choice; it inspires Eileen to copy her style. When she’s dressed in classy clothes, that’s when she embraces her darker instincts.
Releasing Inner Darkness
Novelist Ottessa Moshfegh’s story and Luke Goebel’s script bring a bleak, depressing journey of an unloved woman to the screen. Although you can disagree with Eileen’s eventual decisions, you don’t question her motivations. The environment she lives in is dull, even hateful. Her job is nothing special. Her colleagues live boring lives and, as a result, take it out on Eileen in the workplace. In addition, her father maintains an abusive relationship with her. He constantly shames Eileen for not being as successful as her older sister. It is not unexpected when a character like Eileen — who yearns for physical or emotional love — breaks down and commits dark acts.
Thomasin McKenzie has grown so much as a talent since her breakthrough role in Jojo Rabbit. There is a deep sadness in her interpretation of Eileen. McKenzie has the complicated task of presenting Eileen with an innocent sense of curiosity, then turns it into an obsession within seconds. McKenzie’s subtleties come through the best when we see Eileen’s sexual fantasies, picturing herself being intimate with co-workers. This can be off-putting as she becomes very possessive of them, plus there is a harshness to how she wants others to desire her. Yet, the innocence of wanting to be loved remains relatable.
McKenzie navigates this duality beautifully, particularly when she meets Anne Hathaway’s Rebecca. Her violent instincts flourish as this newly found friendship allows her to retake control of her life. It’s not necessarily that she is turning bad, as it is her liberating an aspect of herself that was always there. This darkness adds complexity to Eileen, questioning if such instincts can be justified when putting somebody through emotional abuse. Oldroyd’s answer isn’t clear, though it allows you to come up with your conclusions.
Late Plot Twists
From the sets to supervising his excellent sound crew, William Oldroyd has a strong hold on all his film departments. Everything comes together effortlessly, adding nuance to Eileen that otherwise wouldn’t have through its striking imagery and sound design that will occasionally have you jump from your seat. Unfortunately, the execution of Eileen’s themes and twists leaves plenty on the table. The director builds an unsettling atmosphere around its titular character, waiting for her breaking point to hit, but when it does come, it feels somewhat late.
Without discussing spoilers, there is a significant turning point towards the movie’s climax. Although what transpires does make sense, it comes out of nowhere and completely disrupts the film. It wouldn’t necessarily be a bad idea since Oldroyd has spent the entire runtime leading up to something going wrong. What makes it feel off is how late into the film it happens. Character decisions are rushed, leaving little time for them and the audience to process what has happened. Then the movie reaches its closure, not feeling quite satisfying.
The silver lining about the twists is that they treat us to a bone-chilling monologue by Marin Ireland (The Empty Man) regarding her family’s past. Her part is relatively small, but she manages to leave a massive impact on film, making her presence just as great as McKenzie and Hathaway’s. It’s a lovely problem to have when a performance engages you so much that you wish the film explored it further. Unfortunately, Eileen follows it up with a rushed conclusion after losing momentum.
Final Thoughts on Eileen
William Oldroyd’s adaptation of Eileen is a technical marvel. All the pieces are in the right place to create a gripping tone and morally gray characters whose journeys you’re never bored of watching unfold. Eileen’s climax isn’t executed in a way that will keep you wanting to return to relive this story, but the chances it does take are admirable.
3.5/5 stars.
Currently pursuing a film career with a passion for film journalism, storytelling of any kind has allowed me to let my imagination run wild in ways even I couldn’t predict. Expect me to write about film, TV, and the entertainment industry.
This article was edited by John Tangalin.