Review of The Immigrant (2013) by Glenn G — 24 May 2014

MY REVIEW OF THE IMMIGRANT (3 Stars).

Films about turn-of-the-century immigration resonate deeply with me. As a grandchild of immigrants who crossed the Atlantic , I can't help but reflect on how tough it must have been to adapt to a country claiming it wanted "your tired, your poor, your huddled masses yearning to breathe free" but more often than not didn't exactly roll out the welcome mat. I suppose that's why films like THE GODFATHER II and ONCE UPON A TIME IN AMERICA affected me so profoundly.

Into this mix comes James Gray's stunningly beautiful yet overly melodramatic and too contained THE IMMIGRANT, starring a very impressive Oscar honor roll with Marion Cotillard, Joaquin Phoenix and Jeremy Renner. The story follows Ewa Cybulski, a Polish immigrant arriving at Ellis Island in 1921 with her sister Magda looking for a better life. In the customs line, Magda is left behind, suspected of carrying tuberculosis, leaving Ewa on her own, penniless in this brave new world. Due to reportedly "loose morals" on the journey to New York, Ewa is relegated to the deportation line. Cotillard is incapable of a false moment. This magnificent actor has the most expressive eyes and pulls off a flawless Polish accent to rival Meryl Streep's in SOPHIE'S CHOICE. Cotillard looks exactly like a screen siren from the silent era. She immediately draws you into Ewa's plight.

Overhearing her pleas with the authorities is Bruno Weiss (Phoenix), who scouts Ellis Island for "talent" for his burlesque show, a front for a prostitution ring he runs. He takes Ewa back to his boarding house and lures her into his world. She meets Emil (Renner), a magician, and a fairly standard love triangle ensues. Although the early scenes had an epic grandeur - I'm a sucker for people disembarking ships, standing in long lines, and early 1920's NY street scenes - things get smaller and smaller in scope, concentrating instead on the three main characters talking in little rooms. Despite Darius Khondji's gorgeous cinematography, reminiscent of the beautiful, desaturated work he did in EVITA, and despite the perfectly calibrated performances, the movie seemed to lose its flair. When you're dealing with grand operatic emotions (Phoenix really pulls out all the stops here) you want sweeping imagery to go along with it. If only the characters had gone outside more! I suppose there were budgetary constraints, and don't get me wrong, this movie works for the most part, but a little movie about love just isn't as interesting as one about the struggles of adapting to a new country.

Gray seems to want a movie-movie here. His prior films have similar qualities, with TWO LOVERS in particular feeling like an update of MARTY with its piercing blue collar aesthetic. I applaud that he wants to elevate drama and give us an old-fashioned weepie, and the final shot is a stunning, subtle image that brings home everything Ewa has been pursuing. I rooted for these characters and enjoyed following them around. Renner is truly compiling a fantastic resume, different every time he takes on a role, and here he is dynamic and sympathetic. It's a small, quiet tragedy, hopelessly grim and well-intentioned. I just wanted a much bigger canvas for our tired, poor, huddled masses.