Canadian auteur David Cronenberg follows his critically acclaimed A History of Violence with this gripping crime-drama. A companion piece of sorts to that film, Eastern Promises again pairs the director with actor Viggo Mortensen—this time exploring the workings of London’s Russian Mafioso underground.

English midwife Anna Khitrova (Naomi Watts) delivers a newborn girl as the infant’s teenaged mother dies. A diary leads the curious woman to an elderly Russian restaurant owner, who offers to translate the journal’s contents in trade for the book itself. She soon discovers a connection between the orphaned baby and a dangerous criminal element threatened by her fearless concern for the girl.

Mortensen portrays mob chauffeur Nikolai Luzhin, whose close ties with the Russian don Semyon’s reckless son elevate him within the crime clan’s ranks. He becomes involved with Anna, and despite his orders to eliminate the threat she poses to the family, he has an agenda of his own.

Mortensen prepared for his role in the film by spending time as a commoner in modern Russia, living anonymously among the people while learning the language and culture. He also researched the important symbolism of tattoos worn as criminal status symbols, and his attention to such details even prompted changes in Steve Knight’s preexisting script.

Taut and engrossing, Promises is a top-notch thriller that works on several levels. Subtle touches exist alongside moments of graphic brutality; bloody passages segue into scenes of quiet beauty. Mortensen (Oscar-nominated for his work here) and co-star Watts share a most interesting onscreen dynamic. Vincent Cassell’s turn as egocentric Kirill—as well as Armin Mueller-Stahl’s portrayal of his father Semyon—adds a sinister realism.

Cronenberg employs several frequent collaborators behind the cameras, including composer Howard Shore, whose moody score creeps just beneath the surface. The film is undoubtedly one of David Cronenberg’s finest achievements— one in a series of compelling works by one of modern cinema’s greatest directors. Fans of this film should explore his entire body of dark artistry, notably Dead Ringers, Spider, The Dead Zone, and his superb 1986 remake of The Fly.

Walter Simpkins is Senior Writer of www.featurefilmreview.com. Please e-mail comments to him at walter(@)featurefilmreview.com.