Having seen Brooklyn, I’m
a little surprised it was nominated for best picture. Not that isn’t an excellent film – it definitely
is – but even now with the expanded best picture category, it doesn’t quite seem
like the sort of film that would get nominated.
It feels… too small, maybe? Not a
big enough story? I’m not sure why it
seems that way. Maybe after last year’s boys’ club, I’ve been conditioned not to see a young woman’s relatively
personal character journey as “Oscar material.”
Nevertheless, I’m very glad it did
get recognized because, as I said, it’s really wonderfully done.
Eilis can’t see a future for herself in Ireland. With the help of her loving sister, she’s
able to book passage on a ship bound for Ellis Island. Brooklyn in 1951 is an entirely different
world – while Eilis is surrounded by the Irish community there, she still doesn’t
feel “home.” Gradually, though, she
begins to grow into her new country as well as herself. Friendship, opportunity, and love all wait
for her to be bold enough to chase after it.
This is a lovely film. The
period details are nicely realized, Eilis’s struggles are by turns stark and
quietly heartbreaking, and by the same token, her rewards are a joy to watch. I love watching the profound changes in her
that develop slowly and subtly over the course of the movie. The relationships on display here are also
great. I get a huge kick out of both her
landlady and her fellow lodgers at the all-female boarding house where Eilis is
placed (side note – very nearly everyone in this movie is a woman, and I think
that’s really neat) and enjoy the sweet romantic plot that weaves its way
through her story. And even though most
of their interactions take place through letters, Eilis’s relationship with her
older sister is really moving.
Writer Nick Hornby (of, among other things, An Education and About a Boy)
is up for best adapted screenplay. I
have absolutely no knowledge of the novel Brooklyn
is based on, but I’m definitely a fan of the writing here. The humor sparkles – the boarding-house
scenes really are a highlight – and never feels overwritten. Similarly, sadder moments are penned (and
framed, by director John Crowley) with a delicate touch and earnest emotions.
Our third major nomination goes to Saoirse Ronan (who I saw first
as Briony in Atonement and more
recently as the lead in Hanna.) She’s superb as Eilis, deftly portraying every
stage of the young woman’s evolution with her beautifully understated
performance. Ronan carries the film, no
question – I’m pretty sure she’s in every single scene, and she has a talent
for telling you everything that’s going on with Eilis without saying a
word. I also want to mention Emory
Cohen, who’s greatly likeable as Eilis’s potential beau. Additionally, the film features Harry Potter alumni Julie Walters (Molly
Weasley,) Jim Broadbent (Professor Slughorn,) and Domhnall Gleeson (Bill Weasley)
– all three are great, especially the fantastic Walters (sadly, none of them
share any scenes together.) I’m not
familiar with any of the actresses who play the other boarding-house girls, but
each one is a delight in her own specific way.
Warnings
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