American dreaming

Saoirse Ronan and Emory Cohen star in "Brooklyn." Image courtesy Twentieth Century Fox.

The version of America depicted in the sensational “Brooklyn” is the one people dream about when talking about the good old days. The streets are clean and tread upon by impeccably dressed men and women, all of whom are searching for the American Dream. Strangely enough, finding that dream isn’t the issue; the tricky part for Saoirse Ronan’s Eilis is deciding if that dream is what she wants, or is it better perhaps to return home and follow the path set for her before she arrived in early 1950s America.

Romance comes into play in the decision making, although it really isn’t a factor for (the magnificent) Ronan before she steps on the boat. Life before the departure is depicted with a yawn, with the lass working at a market part-time for the cruel Miss Kelly (Brid Brennan), going to dances with her best friend Nancy (Eileen O’Higgins) and living with her beloved older sister Rose (Fiona Glascott) and mother (Jane Brennan). The trip across the Atlantic is a little rocky, but she arrives at the eponymous borough and settles into a boarding house run by the fiery Mrs. Kehoe (Julie Walters) with a small bag, a less than promising job at a clothing store, and an epic case of home sickness. But Ronan toughs out the harsh early going with the help of a friendly priest (Jim Broadbent), who enrolls her in night classes at a local university and persuades her to attend a few local meet and greet events. It's at a rather lame Irish dance that she meets dapper Italian plumber Tony (Emory Cohen), and her life begins to pick up once their relationship blossoms and she falls in love with him and life in America.

That is until Glascott dies and Ronan has to ship back to Ireland to comfort her grieving mother. What started off as a short trip home develops into an extended stay when she takes over her sister’s job as a bookkeeper, which begets plans to stick around and possibly fall in love with handsome rugby player Jim Farrell (Domhnall Gleeson). Everyone around Ronan conspires to keep her in Ireland – Brennan goes as far as to set up her daughter's social schedule beyond her expected departure date – and the woman even starts questioning a possible return to life with Cohen in Brooklyn. It puts her in a tough spot, as each location has its benefits, among them a man hopelessly in love with her.

“Brooklyn” is a rare trustworthy wolf in sheep's clothing, a deep and brilliant Nicholas Sparks film disguised as droll Oscar bait. “Brooklyn” speaks in sadness and elegies for the living and the death of dreams, so crying during “Brooklyn” is very much encouraged and is even necessary depending on which character is broken emotionally at a given moment. But there is very much more to the film than weeping, as screenwriter Nick Hornby – who adopted the film from a novel by Colm Tóibín – writes in some terrific comedic patter between characters that can shift an ordinary conversation into a sparring match befitting films of the era. The best lines are given to the sublimely caustic Walters, who delivers them with vinegar and a knowing smirk.

What's covering the film's fluffy heart is a layer of adulthood far too often ignored in the average Heigl flick; characters opt to reflect and think about their words before saying anything when presented with an awkward moment of romantic doom. Ronan, especially, isn't a woman who needs to grow up – she begins the film at a greater level of adulthood than most people can achieve – as all she really needs is time to weigh her options. The quandary she faces – staying in Ireland or going back to Brooklyn – appears to be an equal one from the surface, with each place offering opportunity and love. But the film definitely favors one route far over the others, and it reveals the preference with a few visual hints – the wardrobe and scenery is much brighter in one location – and through the two suitors. While both men adore the lovable Ronan, the nature of the relationships Ronan has with each differs in one notable way; while one wants a bride to fill an empty house, he other wants a partner, someone to grow alongside him and wants her to better herself in the process. Given that, the decision is easy, but “Brooklyn” knows the heart is a complicated entity, and even a smart, ambitious protagonist like Ronan’s Eilis is tempted to make the wrong decision. That she doesn’t, and that the choice comes with steely determination in one of the best scenes in the film, comes to both the main character’s and the film’s credit.  

Review: Four and a half out of Five Stars

Click here to see the trailer.

Rating: PG-13

Run time: 111 minutes

Genre: Drama

Ask Away

Target audience: Fans of the book and anyone who can't decide if they want to spend more than 90 minutes laughing or crying.

Take the whole family?: Stick with the PG-13 rating for the mildly adult content and the few kids younger than that who'd be interested in seeing this type of movie.

Theater or Netflix?: Find a nice Saturday afternoon to hit this up if you can find it locally.

What are the film's Oscar odds?: “Brooklyn” is in line for a few nominations, including biggies like Best Picture, Best Adapted Screenplay, and Best Actress for Saoirse Ronan. I hope Julie Walters gets recognition for Best Supporting Actress – she's just so wonderfully caustic – along with a little love for its subtly splendid cinematography.

Watch this as well?: Sticking with the Nick Hornby oeuvre, rent “An Education” and revel in the terrific rapport between Carey Mulligan – another possible Best Actress nominee – and Peter Sarsgaard.