I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

I've seen some pretty dreadful movies about illegal immigration lately—the eternally wooden Raoul Bova in the sanctimonious and superficial "Io, l'Altro" (I, the Other), for example, or Philippe Lioret's depressing and pedantic "Welcome"—but Verso L'Eden/Eden à l'Ouest is pure and unadulterated rubbish. Here's my thing: Riccardo Scamarcio is a terrible actor. No, I mean, some actors are bad in a way that makes you embarrassed to watch them. Others are bad in the way that makes you feel embarrassed for the other people in the theater. And then there's Scamarcio, who belongs to that category of actors who make you feel embarrassed to be alive. Scamarcio launched his career, if we want to use that word, playing romantic leads in dimwitted teen comedies. Now and then, for reasons known only to the directors whose children Scamarcio's agent evidently kidnapped and threatened to murder, Scamarcio was then also chosen for roles in serious movies. Let me correct that: he got roles in movies that weren't "if you're IQ is above 40 you're too smart to enter this theater" comedies or "compared to this, a Hallmark card is freakin' Wuthering Heights" romances. Whether the movies were serious is up for discussion. But Scamarcio is sort of like beige—he goes with anything. It doesn't matter to him what kind of movie you put him in; he's happy to trot out his repertory of three facial expressions (ooh! and did you notice? He has green eyes!) in any known genre. From a movie-goer's point of view, the more Scamarcio has to "act," though, the uglier things tend to get. In Verso L'Eden/Eden à l'Ouest, he's supposed to be an illegal immigrant of indeterminate origin who arrives in Greece from an unnamed country, hoping to travel to Paris and find work. So there are like, *layers*, you get me? And Scamarcio doesn't do layers. Guy chasing a girl who doesn't love him? Got it covered. Guy who betrays the girl he loves, but is forgiven in the end? No problem. Guy who agrees to help his best gal-pal win the guy of her dreams, but ends up sweeping her off her feet instead? In his sleep. But don't ask him to something complicated like pretend to be of a different nationality, get washed up on a beach in Greece, and spend the ensuing weeks outrunning illegal-immigrant posses, police dogs, and con-men in pursuit of some private (never articulated) dream. Director Costa-Gavras, meanwhile, either forgot whether he was making a comedy, a sex farce, or a drama—or else he simply decided he'd pushed Scamarcio about as far as he could. He certainly threw continuity to the wind: one minute Scamarcio is in Greece, the next minute he's in Italy, then he's in Germany—don't blink or you'll miss all those borders. The result is a series of side-splitting scenes in which Scamarcio gets caught in a nudist colony, is mistaken for a bellboy, beds a babe or three, fends off the advances of gay truckers, and engages in at least a couple of foot chases through the city streets with the Keystone Cops. This is absolutely the most superficial, unserious, insultingly naive film about immigration ever made, and Scamarcio (did I mention he has green eyes?) lights it up with every single one of his 15 watts of charisma. Costa-Gavras ought to be writhing in shame. As for Scamarcio, he's pretty much made it clear that he's beyond all that.

This tale of illegal migrants is masterfully told as a straight story of events along the road to Paris. In order to illustrate many facets of the illegal immigrant saga, the writers have gone out of their way to include many more events, mishaps, and adventures that could credibly happen to a single migrant. Some people may object to this, but it serves to make this a more universal picture of events that can overtake an exile.The emphasis of the story-telling is not a political or social statement, it's a strikingly enjoyable film with excellent cinematography which nevertheless manages to raise many serious issues. It's a story of human adaptation to loss of home and lack of normal human contact.The protagonist says little because he can hardly speak French or English. Language throughout the film is not very important as a result. The audience, like migrants themselves, sits through episodes in Arabic, Greek, French, German, and English. Along this rootless journey, he strikes up relationships ambiguous relationships along the road, mainly warm and yet fleeting - particularly the toy-boy episode at the start. There are many little subtle moments in the film, each making powerful comments about human moral choices under duress. Combining suspense, drama, and subtly thought provoking episodes, this is another lasting film from Costa Gavras.

I admit that it was the director's name that made me choose this film from the selection of international films offered by Qantas in their on-board entertainment system on my flight home.The initial sequence of illegal immigrants on a boat was haunting as they ripped their identification cards and threw them into the water. As authorities came to arrest them, we meet Elias who dove into the sea to escape. He was washed ashore on a nudist beach resort. And from then you know that things would turn for the ludicrous.It is a cat and mouse game as Elias tries to find his was to Paris to search for a magician who told him to look for him there. On that flimsy premise, the movie became a road trip where Elias encounters and interacts with people who had various problems. Elias was always just the witness of events, but we never find out anything about his past. We do not even know from which country he came from! I kept on watching the film because I wanted to see how Elias would finally fare when he reaches Paris. However when he does meet the magician in Paris, the expected grand finale of Elias' exodus was nowhere to be seen. The crazy visual gimmick that Costa Gavras did on the Eiffel Tower in the ending even made the whole movie look stupid.

Greek-born, long-time Paris resident filmmaker Costa-Gavras (of the classic political thriller Z) had grand ambitions in making Eden Is West/Eden à l'ouest. He engaged veteran playwright and screenwriter Jean-Claude Grumberg to write the dialogue. He also recruited Italian heartthrob Ricardo Scamarcio, charismatic and appealing as Elias, the mostly silent, Chaplinesque, yet gorgeous lead character, an illegal of no specific nationality (when he briefly speaks his own tongue, it's a made-up language) aiming through thick and thin to get to Paris. A very modern story meant to engage universal sympathies was the aim.But in the event, Elias' adventures seem little more than a motley series of improvisations, some lurid, some hairy, some comical, unable to form into anything lastingly memorable, touching, or meaningful. Scamarcio shows himself an excellent mime and is sympathetic throughout. Elias is a chameleon whose ability to insert himself into almost every situation he enters borders on the fantastic. When he talks about the film, Costa-Gavras mentions globalization, the exploitation of immigrants, world poverty, the wanderings of Ulysses. But 'Eden Is West' winds up being mostly just the picaresque tale of a young charmer, attractive to men and women, trusted by all, endlessly resilient, surviving on minimal sleep and a diet of hastily grabbed croissants and gulps of coffee, shedding garments and identities with equal alacrity. And that's all very well, but so what? If this is 'Candide,' it's 'Candide' without the enlightenment or the political savvy.Elias' adventures begin when he jumps off a boat full of illegals as the coast guard approaches, and is one of several young men who lands, alive, on a posh island resort called "Eden" that has nude bathing as one of its entertainments. The film holds our attention and sets the theme: Elias is always in danger of getting found out and hauled away. We hold our breath as he runs just ahead of the cops or security. Awekening the next morning on the island, he strips naked to fit in, turns into a bellboy by donning an "Eden" jacket, get kissed by a gay hotel host, is forced to repair a jammed toilet by an Israeli, and is adopted as a bed-mate by horny German widow Christina (Juliane Koehler) during a spectacular rainstorm. This resort sequence is slickly done, more extended and more emotionally engaging than the precipitous road picture that soon follows. But it also reads as a segment out of a soft-core B picture: in terms of setting tone and focus, it gets things off to an unpromising start. Things are too easy and too random. The first twenty minutes show the flaws of the whole 110-minute film. Costa-Gavras is adept at convincingly establishing his kaleidoscopic sequence of milieus. But not so good at making a logical arc of the adventures.Elias' ability to fall easily into any role leads him to serve not only as a hotel underling and as Christina's lover, but also as the assistant of the Eden resort's German resident magician, Nick Nickelby (Ulrich Tukur). Later he escapes the resort and finds himself working for a traveling vendor, recruited at a clandestine electronics recycling factory, and donning various disguises to evade the cops. He's a fugitive, cut-rate Felix Krull manqué, and there's the suspicion from the start that all these things are temptations the delay this Ulysses from finding his Ithaka--which may be the Paris nightclub where Nick Nicholby tells him he usually works. Nickelby says, "If you come to Paris, come and see me," and through his travels, Elis keeps struggling to get this sentence in French memorized, and to make it to the Paris nightclub and the magician. Nobody knows his language, and his hold on French is shaky; hence the value of Scamarcio's expressive mouth and big, soulful eyes.It's hard to see what the point is of the rich, squabbling Greek couple (Ieroklis Mihailidis and Annie Loulou) or the gang of gypsies who at first think him one of theirs, or the louche pair of German truckers (Antoine Monot, Florian Martens) who leave him off at a crossroads between the routes to Hamburg and to Paris. More adventures and narrow escapes follow, and Elias does eventually make it to the City of Light and find the magician. Apparently Costa-Gavras meant to keep his treatment of an illegal's travails on the way to gainful employment in the European Union lighthearted, but the various episodes just aren't memorable or meaningful enough. This is a great role for Ricardo Scamarcio, or might have been; unfortunately the project seems too ill conceived to have lasting value.Eden à l'ouest opened in Paris February 11, 2009 to mediocre reviews. It was shown as part of the Rendez-Vous with French Cinema at Lincoln Center, March 2009. 110 minutes.