![]() ![]() John” ( Anne Hathaway), the facility’s improbably glamorous new prison psychologist. For Eileen, the sly, socially withdrawn, rather hygiene-averse secretary at a boy’s penitentiary in ’60s Massachussetts, it arrives in the Marilyn-esque shape of “Dr. Such a dramatic transformation needs a catalyst. But what about when a lifelong space-filler, to whom no one has ever paid much attention, and whose eccentricities have thus been nourished into full-blown perversions without anyone much noticing, suddenly decides to become a move-maker? Perhaps “Eileen” is what happens when a disregarded background extra thrusts herself into the spotlight role in her own life. ![]() His daughter, he asserts, with a casual cruelty typical of even their tenderest encounters, is one of the latter. Just like in the movies, he opines, there are two types of people in the world: “the ones making moves, the ones you watch” and “the ones just filling space.” During one such, with the relative clarity of the career drinker only on his first whisky of the day, he provides one possible key to navigating the film’s narrative chicanes. Speaking of addicts, Eileen’s father (a typically excellent Shea Whigham) may be an unrepentantly alcoholic former cop, prone to sitting at an upstairs window boozily pointing his gun at neighborhood kids on their way home from school, but he has his moments. ![]()
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