L'immigrante

The opening shot of James Gray's "The Immigrant" is, rather befittingly, the Statue of Liberty, circa 1921. For Lady Liberty, herself of foreign origins, exemplifies the ideals and ambitions millions upon millions of immigrants have sacrificed and labored for in the hopes of one day achieving. The camera then pulls back slowly and the statue disappears into the background, for this is no grand tale of success or prosperity, but of the hardships and struggles associated with the vast majority of immigration experiences.

The title character refers to Ewa Cybulska (Marion Cotillard), a Polish immigrant freshly off the boat at Ellis Island alongside her sister , Magda (Angela Sarafyan). The sisters are hastily separated when Magda is unable to conceal her illness (later discovered to be tuberculosis), and is promptly quarantined. Faced with deportation, Ewa is recruited by Bruno (Joaquin Phoenix), a shady theater promoter, who is able to furnish her with a bed and employment.

Ewa finds her situation anything but ideal, and it is not long before her body becomes her greatest commodity. Feeling exploited by Bruno, she manages to locate her aunt and uncle, earlier immigrants living in the city for some time now. This effort proves futile, and she is once again resigned to operate under Bruno.

Further complications ensue when Emil (Jeremy Renner), a magician and Bruno's cousin, enters the picture and is instantly enraptured by Ewa. Partly seeing it as an infringement of his turf and partly out of envy, Bruno reacts hostilely towards Emil's advances towards Ewa. Ewa, whose justification for her prostitution is a hopeful reunion with her sister, is torn between the two men. Not necessarily out of love, for something so trivial surely has no use in the world of struggles Ewa finds herself in, but she is divided as to whom can properly benefit her, as she has reason to doubt both men's claims.

Showcasing a handsome reproduction of early 1920's New York, Gray's film is a very sympathetic portrait of the burden of immigrant life. As depicted in the film, the processing system dehumanized the migrants, frighteningly close to the same degree as the slave processing in "Goodbye Uncle Tom." If one was lucky enough to make it through customs and into the country, "The Immigrant" pulls no punches in representing the strife of the urban environment at a time where work came cheap and arduous, as was human life.

As one would come to expect by now, Marion Cotillard, who has been nothing less than terrific in various foreign and domestic films in the last couple years, is well cast as Ewa. Able to channel the character's sympathy without falling victim to excessive sentiment, Cotillard's Ewa is a woman who has convinced herself to make the necessary sacrifices, yet cannot help but to bear the guilt. Though Cotillard's Ewa may doubt her methods, her zeal is never up for question. She is absolutely determined to see her sister again from whatever cash she can scrap together, and the end will surely justify the means.

Also notable is Phoenix, who continues his recent career renaissance following 2012's "The Master" and 2013's "Her." Bruno, as played by Phoenix, is undoubtedly taking advantage of Ewa and her situation, yet there is a sense of gentleness and care that Phoenix is able to bring to the character. Under Bruno's wing, Ewa may be compromised, but she is cared for and secure. Bruno never physically abuses her or coerces her into something she isn't prepared for, as her path into prostitution was clearly forged given the situation, whether she came across Bruno or not. Thus Bruno's recruitment was both a blessing and a curse for Ewa. Great credit should go to screenwriters Gray and Ric Menello and actor Phoenix for carving a well-structured and nuanced character out of what could have easily fallen into the ranks of cliché.

As her character states early on, Ewa's only ambition in coming to America is "to be happy," yet she finds her conditions to be anything but. Thus "The Immigrant" is a testament to the trials and tribulations that countless individuals and families have endeavored (and those who continue to do so) at the aspiration of forging a better lives for themselves.

7.4 stars.

'The Immigrant' starts off really good. They captured the 1920's a genuinely as any film I've seen. What I didn't quite understand were the characters. They are all acted superbly, yet something is amiss with a few of the secondary females and also Renner's character. Can't quite put a finger on it, but whatever it was, it didn't completely eliminate my enjoyment.

As usual, Joaquin Phoenix shines as the shady and miserable, self-loathing individual. We become somewhat sympathetic of him as time passes, just a little, but there are ups and downs. He is quite an intriguing and disgusting fellow, but he has one or two decent qualities (you'll see). Renner's character is a very likable man, yet something is strange with him, and you can see glimpses of his quirks. Miss Cotillard also performs with great intensity and I feel like her portrayal was a mixture of driven and wooden. Frankly, I feel that she was being very realistic in her portrayal of a woman experiencing such severe abuse. The downside is that her strong accent is a bit difficult to understand, and the sound was not the best. I was tempted to put on the subtitles, which is very rare for me.

This film was a bit too uneven for my tastes. There was so much potential, but something was out of place. Frankly, I think the whole Renner side plot was mishandled. However, I can't shake the gut instinct that it was unbalanced. Even with this caliber of actors, it wasn't quite enough to round up to 8.0, and that's too bad.

Separated from her ill sister and facing deportation, a Polish immigrant is taken in by a burlesque show operator who may or may not have her best intentions at heart in this drama set in 1920s New York. The film holds no bars in depicting the difficulties of immigration as our disillusioned protagonist, played by Marion Cotillard, comes to accept an existence very different to what she once imagined. Cotillard's performance is rather multi-layered: simultaneously vulnerable and ruthless (resorting to stealing what she can), and simultaneously accepting of her fate and focused on achieving more. Joaquin Phoenix is also superb as the burlesque man with a breakdown scene near the end in which he finally drops all pretenses to reveal a beating human heart. Their situation is also complicated by Cotillard encountering Phoenix's estranged cousin, played by Jeremy Renner, and a love triangle develops that never quite clicks since we are unsure until the end whether Phoenix really loves her, and as it is never clear whether Renner really loves her either or just wants to make Phoenix jealous. Certainly, an animosity exists between the two cousins that the film does not explore in as much depth as it perhaps could have. Still, what the film does do well it does very, very well. It is quite rare to find a film with such a graphic insight into the harsh actual reality of the American Dream and Cotillard's character is very much one-of-a-kind. Torn between would-be saviours and false promises, she never once gives up hope, even if her own American Dream is decidedly different by the end.

It's 1921. Polish sisters Ewa (Marion Cotillard) and Magda Cybulska arrive in NYC. Magda is quarantined and Ewa is accused of having low morals threatened with deportation. She's desperate to stay and find her sister. Bruno Weiss (Joaquin Phoenix) manages the burlesque Bandits' Roost. He zeros in on the vulnerable Ewa and eventually pushes her into prostitution. She tracks down her relatives but her uncle gets the police and she's sent back to Ellis Island slated for deportation. There she sees a performance by Orlando the magician (Jeremy Renner) who turns out to be Bruno's cousin Emil.

This is a beautiful looking film. James Gray is able to achieve that much. The actors are first rate and Marion Cotillard is a true standout here. I love that her character isn't a simple innocent. She's smart enough not to trust Bruno right from the start. I don't like Bruno's character as much. He's a damaged person but the movie seems intent to create sympathy for him. Joaquin has a lovely vulnerability but he needs to be a tougher villain. Overall, this movie is simply too slow although it is quite beautiful.

When I read the summary for this film, I just expected a sweeping, soaring melodrama. Oh, it's a melodrama, no doubt about it, but surprisingly, it's a pretty restrained effort. I appreciate the fact that it really wasn't overblown in its intentions, in its music, in its acting. The three main actors are all pretty good, Cotillard especially. By now, we know the talent this woman possesses and she's someone that can say so much with just a single facial expression. This is one of her very best performances, and it should, in no way, be discounted. I hope she finally gets that long-due second Oscar nomination. All in all, recommended.