Based on the novel by Colm Toibin, Brooklyn is the story of a young Irish woman who travels to America in the early 1950s where she falls in love with an Italian-American while being pulled back to her homeland. Directed by John Crowley and screenplay by Nick Hornby, the film is an exploration of a young woman trying to find herself in a new world while carrying elements of the old world with her. Starring Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Jim Broadbent, and Julie Walters. Brooklyn is a ravishing and evocative film from John Crowley.
Set in 1951, the film is the story of a young Irish woman who is given the chance to go to America with the help of a kindly priest as she encounters her new surrounding where she eventually falls for an Italian-American plumber until she is pulled back to her home. It’s a film that is about this young woman not only trying to find herself in a new world but also carry something of her own homeland where she is often given reminders as the borough of Brooklyn is filled with a lot of Irish immigrants. While the character of Eilis Lacey (Saoirse Ronan) would endure homesickness and trying to fit in, she would eventually find herself loving her new world as well as being in a relationship with this Italian-American named Tony Fiorello (Emory Cohen) who is very different from the men she’s met in her life.
Nick Hornby’s screenplay definitely explores the sense of loneliness and uncertainty Eilis deals with as she would correspond with her old sister Rose (Fiona Glascott) during her stay in Brooklyn where Eilis also has to cope with the expectations of how to present herself in America. While there is that air of culture shock, Eilis does at least get the support of Father Flood (Jim Broadbent), her landlord Madge Kehoe (Julie Walters), and fellow lodgers who are also Irish immigrant to understand the way things work. Even in meeting Tony in a social outing would give Eilis a chance to see America and how diverse it is. The film’s third act would have Eilis return to Ireland because of family where she is drawn to not just changes in her hometown but also the presence of a new man in Jim Farrell (Domhnall Gleeson) who is kind and can offer Eilis a life in Ireland but it would play into the dramatic conflict that she faces.
John Crowley’s direction is truly mesmerizing not just for its look but also in re-creating the look of early 1950s Brooklyn and Ireland. With the locations in Ireland actually shot in areas near Dublin and the small town of Enniscorthy while the scenes set in Brooklyn were mainly shot in Montreal. Crowley creates a distinctive look for each setting as it play into the world that Eilis encounters where he utilizes some close-ups and medium shots to play into the intimacy of her world where she would work at a clothing store in Brooklyn. The scenes shot in Brooklyn have this more dream-like look to play into Eilis’ own growing love for the place as well as for Tony. Crowley’s usage of the wide shots would come into play for the second and third act where the latter would be once again set in Ireland as it plays into a world that is changing but also bear elements that Eilis would remember. Especially as it play into the dramatic conflict that Eilis would endure about whether to stay home in Ireland or return to life she was starting in Brooklyn. Overall, Crowley creates a rapturous yet intoxicating film about an Irish woman’s time in a new world.
Cinematographer Yves Belanger does incredible work with the film‘s cinematography from the usage of blue-green looks for some of the scenes set in Ireland to the usage of soft colors and lighting schemes for some of the interiors set in Brooklyn. Editor Jake Roberts does excellent work with the editing as it is largely straightforward to play into the drama as well as bits of humor. Production designer Francois Seguin, with art directors Irene O’Brien and Robert Parle and set decorators Suzanne Cloutier, Jenny Oman, and Louise Tremblay, does amazing work with the look of 1950s Brooklyn from the recreation of Coney Island to the look of the clothing shop that Eilis would work at. Costume designer Odile Dicks-Mireaux does brilliant work with the costumes from the different kind of clothes that Eilis would wear throughout the film as it play into her evolution as a person.
Hair designer Lorraine Glynn and makeup designer Morna Ferguson do nice work with the look of the characters in the hairstyles the women had at the time as well as the kind of makeup they used. Visual effects supervisor Andy Clarke does terrific work with the visual effects as it is mainly set dressing for some of the exteriors set in Brooklyn to recreate its look in the early 1950s. Sound designer Glenn Freemantle does superb work with the sound to play into the dancehalls in both Ireland and Brooklyn as well as some of the raucous sounds that happen in some of the locations in Brooklyn. The film’s music by Michael Brook is wonderful for its somber yet soaring orchestral score that play into the drama without overwhelming it while music supervisor Kle Savidge provides a soundtrack that mixes traditional Irish music with some of the contemporary music of the times.
The casting by Fiona Weir is great as it feature some notable small roles from Eileen O’Higgins as Eilis’ friend Nancy, Peter Campion as Nancy’s boyfriend George, Jenn Murray as an Irish immigrant who comes in during the film’s second half, Paulino Nunes and Ellen David as Tony’s parents, James DiaGiacomo as Tony’s youngest brother Frankie, Mella Caron as a young woman Eilis meets late in the film, and Eva Birthistle as a woman named Georgina who would give Eilis guidance on what to do when arriving in America. Emily Bett Rickards and Nora-Jane Noone are fantastic in their roles as Eilis’ housemates who are also Irish immigrants who are troublesome but fun while Jessica Pare` is terrific as Eilis’ boss Miss Fortini who shows Eilis how to present herself at work as well as give her tips on fashion.
Jane Brennan is wonderful as Eilis’ mother who copes with being alone as well as knowing that Eilis is far away while Fiona Glascott is excellent as Eilis’ older sister Rose who would be the one to get Eilis to America as she would correspond with her during Eilis’ time in America. Brid Brennan is brilliant as Miss Kelly as Eilis’ former employer back in Ireland who is quite cruel as she would have this great moment late in the film as she is a reminder of what Eilis doesn’t like about her home. Julie Walters is amazing as Madge Kehoe as a woman who runs a boarding house for Irish immigrant women to live in as she is this mixture of maternal warmth with a strict demeanor. Jim Broadbent is marvelous as Father Flood as this kind priest who would help Eilis find a place to stay as well as a job as he is this warm figure that is like a father of sorts for Eilis. Domhnall Gleeson is remarkable as Jim Farrell as this kind Irishman who is part of the rugby team as he is this gentleman that fascinates Eilis.
Emory Cohen is phenomenal as Tony Fiorello as this Italian-American who doesn’t play into traditional stereotypes of most Italians as he is someone that has simple ambitions while being very kind and gentlemanly towards Eilis. Finally, there’s Saoirse Ronan in a sensational performance as Eilis Lacey as this young Irish woman who travels to America where she copes with being homesick as well as culture shock where finally comes into her own and find a life in Brooklyn while displaying the anguish and internal conflict of returning to her homeland and the new life she has grown accustom to as it’s a career-defining performance for Ronan.
Brooklyn is a spectacular film from John Crowley that features a radiant performance from Saoirse Ronan. Along with Nick Hornby’s compelling script, gorgeous visuals, and a phenomenal supporting cast, it’s a film that isn’t just this touching story of a young woman in a new world and experiencing love but it is also a story of a woman finding her identity. In the end, Brooklyn is a tremendous film from John Crowley.
John Crowley Films: (Intermission) - Boy A - (Is Anybody There?) - (Closed Circuit)
© thevoid99 2016
Written, edited, and directed by Antonio Campos, Afterschool is the story of a video-obsessed high school student whose desire to film violence around him as him dealing with the death of two students as he becomes more confused with the world around him. The film is an exploration into the world of high school as it’s told from an outsider who doesn’t play by the rules as he holds the cards for what might’ve seen. Starring Ezra Miller, Addison Timlin, Jeremy Allen White, Emory Cohen, Rosemarie DeWitt, and Michael Stuhlbarg. Afterschool is a very cold and often un-involving film from Antonio Campos.
Set in a prep high school in the course of a year, the film is an exploration into the world of a sophomore student whose obsession for crazy Internet video clips of violence and sex has him dealing with the death of twin students whom he had witnessed as he tries to deal with what he saw. It would all play to this young teen not just dealing with what he’s witnessed but also take part in making a memorial video for these two twin girls he never really knew. It’s a premise that is very interesting but what Antonio Campos ends up creating is a story that tries to be unconventional but ends up being not very involving at times as he’s more concerned with visual ideas and such.
While the characterization of Robert (Ezra Miller) is compelling as this loner who likes to watch graphic Internet clips. Campos doesn’t do enough for some of the other characters with the exceptions of the school principal Mr. Burke (Michael Stuhlbarg), who is trying his best to maintain order, and the school shrink Mr. Anderson (David Costabile) who talks to Robert every week about what happened. It adds to some of the frustrating aspects of the script where it wants to be a very minimalist story but doesn’t carry enough depth or intrigue to really get things going.
Campos’ direction does have some unique compositions in terms of its framing and the use of grainy cell phone and digital cameras. Yet it is often presented with some sense of detachment of sorts where there’s little close-ups that occur where Campos want to go for some kind of minimalist approach to the filmmaking. Unfortunately, it’s lack of a strong plot makes the film much more plodding in its pacing where all of these quiet and gazing shots would become very tedious. With Campos also serving as the editor, he doesn’t do enough to really get things moving as he’s become too accustomed to the minimalist style where the overall result of the film is one that has a good idea but marred by its very pretentious execution.
Cinematographer Jody Lee Lipes does nice work with the film‘s cinematography from the polished look of the film to the grainy look of the video footage. Production designer Kris Moran, with set decorator Gina Freedman and art director William Logan, does excellent work with the look of the dorm room that Robert stays in along with the classrooms and such. Costume designer Katie Akana does terrific work with the costumes where it mostly plays to the look of prep schools. Sound designer T. Terressa Tate does superb work with the sound as it plays to the hushed dialogue that occurs in the schools and such along with the intimacy in some of the locations. The film’s music by Gale Rakotondrabe is OK as it’s just a piano piece that plays at the end of the film since the film doesn’t feature any music which adds to its tedious tone.
The casting by Randi Glass and Susan Shopmaker is great for the discovery of some of the young actors in the film though some of them are actually wasted in the film. Appearances from Emory Cohen as a classmate and Rosemarie DeWitt as an English teacher that Robert ogles at don’t get much to do while David Costabile is terrific as the school shrink Mr. Anderson. Michael Stuhlbarg is excellent as the school principal Mr. Burke who tries to maintain order and defuse some of the things that’s happening while talking to Robert to see if he’s OK.
Jeremy Allen White is pretty good as Robert’s roommate Dave as is Addison Timlin as their classmate Amy who helps Robert with the video though neither of them get much to do. Finally, there’s Ezra Miller in an amazing performance as Robert as this loner whose obsession with graphic Internet clips has him facing the reality of what he witnessed and what he’s going through as it’s a very chilling performance.
Despite the breakthrough performance from Ezra Miller, Afterschool is a pretty drab and uninspiring film from Antonio Campos which could’ve done so much more with its premise. It’s a film that had the potential in its exploration of voyeurism and alienation but ends up being very pretentious with trying to be very obtuse and such. In the end, Afterschool is a very dull film from Antonio Campos.
© thevoid99 2014
Directed by Derek Cianfrance and written by Cianfrance, Ben Coccio, and Darius Marder from a story by Cianfrance and Coccio, The Place Beyond the Pines is a multi-layered story about two different men who cross into each other’s paths leaving way for their sons to meet many years later. The film is an exploration into the sins of a father and how it would play into the life of their sons. Starring Ryan Gosling, Bradley Cooper, Eva Mendes, Rose Byrne, Dane DeHaan, Emory Cohen, Ben Mendelsohn, and Ray Liotta. The Place Beyond the Pines is a mesmerizing and sprawling film from Derek Cianfrance.
When a child arrives into the world, the one thing that their fathers hope to do is to make sure they raise their children better than their fathers did in the previous generation. The film is a story that spans 20 years as it revolves two very different men whose paths would cross each other as they would later set a troubling fate for their sons many years later when they meet not knowing what they have in common. The film has a very unique narrative where it has a traditional three-act structure yet it plays into the fates that would come into play as it all takes place in Schenectady, New York. Notably as the first two acts is about the two different men whose fates would cross each other and the impact it would have as its third act revolves the lives of their sons as teenagers.
The screenplay’s three acts are about these four different men as the first act is about a motorcycle stuntman named Luke Glanton (Ryan Gosling). The second act is about a good low-level cop named Avery Cross (Bradley Cooper) and the third is about their two sons whose paths would meet each other many years later. The first two act show these two men who both have very good intentions for what they want to do in life as well as set good examples of their sons but they would encounter things that would set the fates for their sons to follow. Notably as Glanton would turn to crime to provide for his son while Cross finds himself in a world of corruption as he turns snitch in order to move up in the world. The paths these two men take would have some uneasy consequences the two would make as well as create a sense of guilt of the path that they take as it would cause trouble for their sons.
The third act showcases a modern world in which Avery Cross has reinvented himself as a politician but one who is still carrying the guilt over his encounter with Glanton as he is also troubled by the antics of his son AJ (Emory Cohen). When A.J. meets a teenager named Jason (Dane DeHaan) who is has no knowledge that Glanton is his real father, their meeting would not only cause a lot of trouble but also unveil the secrets that Avery Cross had been carrying his whole life. While the film is largely about father and sons, there are women who are present in the story as Luke’s former girlfriend Romina (Eva Mendes) is hesitant about having Luke in her life as some of the events that happen forces her to not tell Jason about her father. Avery’s wife Jennifer (Rose Byrne) may not have much time as Romina but she is still crucial as a woman who is forced to see her husband move away from her and the family to do right as he becomes more uncomfortable being called a hero.
Derek Cianfrance’s direction is quite stylish in not just the way he presents Schenectady, New York as an interesting area that is a mixture of a modern world clashing with nature but also a place where it’s a small microcosm that is quite uneasy. With some very interesting tracking shots such as the opening shot of the camera following Luke Glanton around the fairground just as he’s to perform his stunt. There is an air of grain to the look of the film as if it’s meant to create a sense of atmosphere and nostalgia as much of the film takes place somewhere in the 1980s or 1990s. Particularly in the first act as Cianfrance places an air of grit with some hand-held cameras to intensify things as well as placing the cameras for some very stylish chase scenes.
Things cool down during the second act where the framing and camerawork is more controlled as it is dramatic but also filled with some suspense as it revolves around Avery Cross’ encounter with corruption. There are scenes that play into a sense of danger but also melancholy as Cross begins to alienate himself from his family to battle corruption. The third act becomes a mixture of both preceding acts but it has an air of tragedy as it relates to the events in the preceding two acts and how both Avery Cross and Luke Glanton would set up this very troubling fate for the meeting of their sons and how it all comes back to the past. Overall, Derek Cianfrance creates a very compelling and intense film about fathers and the sins they unknowingly create for their sons.
Cinematographer Sean Bobbitt does brilliant work with the film‘s photography where he infuses some grainy camera work into the picture as well as maintaining something very naturalistic for many of the film‘s exteriors as well as placing some lights for some stylish moments of the film. Editors Jim Helton and Ron Patane do excellent work with the editing by using some stylish cuts for some of the film‘s chase scenes as well as some more slow-paced yet methodical cuts for the dramatic moments. Production designer Inbal Weinberg, with set decorator Jasmine E. Ballou and art director Michael Ahern, does wonderful work with the set pieces from the trailer and auto shop that Luke lives in to the home of Avery Cross to represent the two different worlds they live in.
Costume designer Erin Benach does terrific work with the costumes from the ragged clothes of Luke as well as the more youthful clothes that Romina wears in the first act to the more casual look of Avery Cross in the film‘s second act as he becomes a more refined man in the third. Sound designer Dan Flosdorf does amazing work with the sound to capture the atmosphere of the fairgrounds as well as the chase scenes and some very intense moments in some of dramatic portions of the film. The film’s music by Mike Patton is superb for its very haunting use of ambient textures and vocal choirs as well as some low-key orchestration to create dramatic moods for the film. Music supervisor Gabe Hilfer creates a fantastic soundtrack that includes a wide array of music ranging from classical pieces from Avro Part and Gregorio Allegri as well as contemporary music from Bruce Springsteen, Hall and Oates, The Cryin’ Shame, Ennio Morricone, Suicide, Bon Iver, Salem, and Two Fingers.
The casting by Cindy Tolan is incredible for the ensemble that was used as it includes some notable small performances from Gabe Fazio as Cross’ fellow officer Scott, Olga Merediz as Romina’s mother, Robert Clohessy as Cross’ chief, Harris Yulin as Avery’s father, Bruce Greenwood as a district attorney who questions Cross about the corruption in the force, and Mahershala Ali as Romina’s boyfriend Kofi who would become the one father figure Jason would have in his life. Ray Liotta is excellent as a corrupt officer who takes Cross around to show him the benefits which makes Cross uneasy while Ben Mendelsohn is terrific as the auto shop owner Robin who aids Luke in the bank robberies. Emory Cohen is very good as Cross’ son AJ as a young city kid who is forced to live with his father as he tries to rule the town.
Dane DeHaan is brilliant as Luke and Romina’s son Jason as a young loner teen who meets AJ as he becomes troubled by the revelations about who is father is as well as the fact that his mother has been carrying a secret about his father. Rose Byrne is superb in a small role as Avery’s wife Jennifer as a woman who tries to deal with the new fame her husband has as well as the things he does that has her alienated from him. Eva Mendes is great as Luke’s old flame Romina who deals with Luke’s return as well as what he tries to do as she later becomes a bitter woman trying to carry a secret that she doesn’t want her son to know about.
Bradley Cooper is marvelous as Avery Cross as a good man who finds himself entangled in the world of police corruption as he seeks to do something right only to drive away his family as he becomes consumed with guilt over his actions and how his son has turned out. Ryan Gosling is phenomenal as Luke Glanton as an intense man wanting to do right for his ex-girlfriend and their son as he turns to crime to provide for them only to set things in motion for the sense of confusion his son would endure in the years to come.
The Place Beyond the Pines is an outstanding film from Derek Cianfrance that features top-notch performances from Ryan Gosling and Bradley Cooper. Along with a great supporting cast, amazing technical work, and Mike Patton’s chilling score. The film is definitely a very captivating look into the world of fathers and the sins they place into their sons as well as the theme of redemption. In the end, The Place Beyond the Pines is a remarkable film from Derek Cianfrance.
Derek Cianfrance Films: (Brother Tied) - Blue Valentine - (Cagefighter) - (Metalhead)
© thevoid99 2013
