Brooklyn's Oscar gimmick of being a small-scale romance based around immigration during the 1950s has evidently worked the Academy and the critics a charm; evident not only by its numerous nominations for its screenplay and lead performance from Saoirse Ronan but also by its placement as one of the top eight films of the past year by both the Oscars and countless critics (hell, even I did). So naturally, this small-scale story that's complete with 1950s production design and critical darlings is destined for the kind of greatness that critics and some audiences are sure to love, right? Well, it isn't exactly as perfect as it sounds...
In 1952, one Eilis Lacey (Ronan) resides in a dainty village that's placed in the south-western area of Ireland and is living quite happily there. She's got friends who are seeking love and marriage, a mildly tolerable job run by a somewhat spiteful woman called Miss Kelly (Bríd Brennan), and a strong relationship with her mother and sister (Jane Brennan and Fiona Glascott respectively). However, in order to obtain a better future sister Rose sends young Eilis off to the Big Apple and urges that she migrates there. Despite a rocky overseas journey and the usual feelings of being homesick and unsettled, the young woman begins to find her feet and settle in – with even a relationship blooming between herself and a young Italian-American handyman called Tony (Emory Cohen). But a disaster strikes back in the home land and Eilis must return, where the temptation of a new love (Domhnall Gleeson) begins to blossom.
As far as the plot synopsis goes, it's not very imaginative nor original – the love story focused around two people from two different homes is one perhaps as old as Eilis would be now if she were real. And when viewed, it's very easy to see that factor as being a disadvantage or even a distraction to what's seen (a film can only be as good as its story, after all). However, it's down to the adapted screenplay – based off the book of the same name by Colm Tóibín - with its strong dialogue and very well-paced story beats which helps elevate it to higher forms of praise. It doesn't rush through the setting up life of home life in Ireland; it leaves plenty of time to showcase Ronan trying to settle down; and once that all naturally occurs the real story focused around the dual romances can be given ample focus while not completing side-lining all that set-up that preceded it. And while the Irish romance is a little more rushed than the scenes based in America, it isn't rushed to the point of becoming unrealistic – if anything, it keeps the charm of it all.
Saoirse Ronan has long been considered a strong example of home-grown talent thanks largely to quickly getting a Best Supporting Actress nomination for Atonement, and with her good blend of small-scale indie fare and the bigger Hollywood pictures such as The Host and The Grand Budapest Hotel, this tour de force from her is a true showcase of just how far she's gone in the last decade. The Irish actress is superb here in what could have been a very easy performance to give out; adding layers to the character and making it her own. Cohen as her American beau struggles to match her, but gives off his own great performance, and like his co-star will likely be remembered for his role here. Gleeson has a little less to do, but still does an admirable job for a character whose archetype has been done better before; Jim Broadbent as a Irish vicar who helps Lacey get settled in does a good job as per usual as does Julie Walters (who got nominated for a BAFTA for he performance, strangely enough); the two other Lacey family members are likeable enough and get in some quality family turmoil; Bríd Brennan as the despicable old hag who runs the Irish store is far from pantomime levels of 'mean old lady'; and the rest of the cast, which ranges from fellow Irish travellers staying at Walters' halfway house to American occupants all do a good job.
With John Crowley at the helm and Yves Bélanger as cinematographer, the film does look gorgeous; the rustic Irish town of Ennicorthy looks small and pretty whilst the bustling New York has a magic feel to it that can only be captured from that era. Not only that though, but the way the camera is angled and purposely placed makes from some great little pieces of imagery that stick to your mind . No other way of going about it – Crowley does a grand job.
Brooklyn is not perfect, and thanks largely down to how basic the story is and how simple it's played out. And as a film based around immigration, it's perhaps not the strongest (and even most simplest) story out there. But what it is is an acting tour de force for Saoirse Ronan with some great visual details and a highly watchable and an engaging piece of work. It made it to my top ten of 2015, and it remains a really good movie. 8/10.
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