To describe Everything Is Illuminated, the best-selling novel by Jonathan Safran-Foer would be, at best, a tremendously difficult task. To describe its screen adaptation by Liev Schreiber, however, would be close to impossible. Indeed, Safran-Foer's greatly acclaimed literary outing is so eccentrically crafted, so complexly structured, so phenomenally daring, that many might consider it to be unfilmable. How fortunate then that Liev Schreiber's admittedly muddled interpretation not only has a fair crack at it, but succeeds in delivering one of the most refreshing and visually stunning films of recent times.
In fact, Schreiber brings so much of his own vision into the adaptation, and diverts away from the source material in so many ways (the book consists of two separate narratives, Schreiber focusses only on one) that Everything Is Illuminated, his first feature film, could stand alone as an original piece of work, inviting those who have not read the novel as well as reflecting elements that will be familiar to those who have. Schreiber's narrative tells the story of Jonathan (Elijah Wood, generously branching out into a less-mainstream feature), a young Jewish man who collects memories of each of his relatives. All he has to remind him of his late grandfather Safran, however, is an amber necklace and a faded photograph of a Ukrainian whom Jonathan believes helped his grandfather escape from the Nazis. Determined to uncover the truth about Safran's past, Jonathan travels to the Ukraine in the hopes of finding the girl from the photograph. This leads us to Alex (Eugene Hutz of punk band Gogol Bordello, in an astonishing acting debut), an idealistic young man from Odessa who, along with his senile and wildly anti-semitic grandfather (Boris Leskin), acts as Jonathan's guide. The trio travel blindly (quite literally - Leskin's grandfather, who acts as driver, claims throughout to suffer from total blindness) through rural Ukraine, with little success. Trachimbrod, the village-home of Jonathan's grandfather, appears to no longer exist. That is, until they discover an old shack surrounded by sunflowers and inhabited by an elderly collector called Lista. When asked if she knows where Trachimbrod is, she replies simply: 'You are here. I am it.' What follows is a series of tragic and incredibly moving revelations that quite literally illuminate the trio on-screen as well as those watching in front of it.
Schreiber, best known for his roles in Scream and The Manchurian Candidate, delivers a remarkable debut behind the camera. Though not strikingly unconventional, his directing methods contain subtleties that would suggest a filmmaker of far greater experience. The changes in Ukrainian culture is one aspect that Schreiber conveys particularly well; a revealing pan from a quiet elderly couple to a gang of Westernised youths practising BMX stunts in the park behind them being a good example of this. Schreiber also excels in juxtaposing the bleakness of contemporary Ukraine - concrete tower blocks, barren wasteland and derelict, war-torn buildings - with its undeniable beauty - the sunflower-bordered homestead, the tragic, battle-strewn meadow. Sheer cinematic artistry. Though the talent this film showcases is not exclusive to writer and director. Much is to be attributed to its three-strong cast.
In the lead role of Jonathan, Elijah Wood gives a quiet, sensitive performance, letting his eyes deliver the emotion while the rest of his body remains as stiff and pristine as his clipped lines of dialogue. Contrasting this is Eugene Hutz, whose gangling frame, wide-eyed curiosity and imaginative vocabulary, make for an incredibly memorable character. Despite such contrasts, the chemistry between the two performers is faultless and the characters of Jonathan and Alex establish a very believable understanding, each undergoing dramatic and poignant transformations. Amidst all this stands the incomparable Boris Leskin, a renowned Russian stage performer, whose character of Grandfather, a foul mouthed, prejudiced curmudgeon (think of Alan Arkin in Little Miss Sunshine, only more tormented), undergoes the most illuminating transformation of all. Schreiber takes a bold step by drastically altering Grandfather's revelation, a move that may bewilder fans of the novel. But it is a credible solution to a plot twist that may well have proved impossible to commit to film.
Overall then, a more than impressive directorial debut for Schreiber and another superb piece of work for Wood to add to his already momentous resume. While the complex and sometimes muddled storyline may bewilder some viewers, whether they've read the novel or not, the end result is one of pure, life-affirming joy. Definitely worth a watch. 8.5/10
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