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In America (2003) Fox
Searchlight Pictures, 1 hr. 43 mins.
Starring:
Samantha Morton, Paddy Considine, Djimon Hounsou, Sarah Bolger, Emma
Bolger, Juan Hernandez, Ciaran Cronin
Directed by:
Jim Sheridan |
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Irish writer-director Jim Sheridan’s
semi-autobiographical film In America is a winning immigrant story that is
rich and eloquently realized. Sheridan has always been a potent and
insightful storyteller who has faithfully delivered high caliber riveting
dramas such as the critically acclaimed My Left Foot and In the Name of
the Father.
However, his early 80’s personal lyrical narrative is uniquely close to
his heart and examines the struggle and determination to settle into the
urban melting pot of America. It’s always an advantage when you can tap
into your own experiences and express them so beautifully thanks to the
stellar contributions through heartfelt performances aided by impeccable
writing and direction. Sure, In America has its share of in-built hokey
sentimentality and Sheridan’s highly guarded exposition can be subtly
manipulative at times. But beyond this minor detail, this intimate and
wholesome account of domestic assimilation in a new country while trying
to seek out a whole new beginning plays like an Irish poetic fairly tale.
Talented British actor Paddy Considine and Oscar-nominated actress
Samantha Morton absolutely shines as a risk-taking Emerald Island married
couple named Johnny and Sarah who illegally push their way into America
via the borders of Canada en route to the decaying playground known as New
York’s Hell’s Kitchen section. And so it’s Johnny and Sarah being carried
by their beat up vehicle to a whole new existence in the crowded concrete
jungles of New York while being accompanied by their precious tykes
Christy and Ariel. (played by 11-year old Sarah and 7-year old Emma
Bolger). As the patriarch, Johnny is affectionate if not somewhat distant
at times. His occupation by trade is being an actor and in order to put
food on the table, the persistent Johnny hits the pavement scouting out
for auditions that will ensure the family’s inner city survival. In the
meantime, the pain-inflicted and unemployed thespian must settle for the
rigors of driving a taxi cab since the elusive acting parts aren’t
necessarily jumping out at his feet.
Once the clan arrives at their demolished destination, they end up renting
a shabby small apartment where the squalor is quite evident. To top it
off, their poverty-stricken neighbors are a colorful and dingy bunch to
say the least: bums, transvestites, drug addicts, alcoholics, other ethnic
eccentrics, etc. In particular, the family crossed paths with a peculiar
muscular African artist named Mateo (Djimon Hounsou from Armistad and
Gladiator) a.k.a. “The Screaming Man”. It’s clear that Mateo has some
serious issues that he keeps locked up in his disillusioned yet skillful
psyche. Eventually, the family befriends the troubled yet creatively
outspoken chiseled-looking individual who, sad to say, has been inflicted
with the AIDS virus.
Despite the seemingly dubious predicament that Johnny and his family are
currently embroiled in, they try to make the best out of an intolerant
situation. Although it looks rather dim where this Irish family are
surrounded by every defeatist obstacle imaginable (lack of employment,
financial hardship, unstable and unpredictable residents, questionable
weather conditions, etc.) they still manage to stick together and love one
another in spite of the downfall of the present circumstances. Oddly
enough, the traditional Celtic ways of Johnny and his loved ones are
admired by their scarred and riff raffish observers who have come to
embrace these resilient Irish immigrants with gradual affection.
Granted that Johnny, his wife Sarah and the girls are trying to adjust and
look ahead for what’s due to come their way. But their progressive outlook
cannot mask the fragility and pain the family has recently suffered due to
an untimely loss. There’s more than a casual reason why these folks wanted
to pick up and seek comfort elsewhere in a foreign land. In short, they’re
running away from a tragedy that continues to threaten their wounded
souls. Two-year-old Frankie, the youngest member of their family unit,
suddenly died (a combination of a brain tumor and stairway accident) and
left an empty void in the psychological makeup of these disheartened
folks. Frankie’s eternal spirit is felt deeply and the devastation
persists to the point that it has an underlying cynical impact on the four
surviving relatives that adored him so much. The pressure on Johnny is
immense because not only does he have to combat the memories of his late
son, he has to contend with keeping alive his quest to support his
emotionally drained and vulnerable family while picking up the pieces to
his own scattered puzzle of disbelief.
Sheridan does a marvelous job capturing the essence of anxiety and angst
and accentuates this field trip of feelings by incorporating the basic
fears we all dread but must confront with uncertainty: death,
disillusionment, acceptance, sadness, conflict, self-discovery, a sense of
detachment, etc. In America is potent and poignant in that it ruefully
examines the delicate balance of a complicated childhood versus that of a
demanding adulthood. As a savvy filmmaker, Sheridan understands the fine
line being crossed in terms of what great expectations we put on
ourselves. As a person that has witnessed the pervasive turmoil in his
homeland of Ireland, the astute Sheridan can effectively showcase the
private/public chaos that this kind of sensation can manifest on our
mindset. Everyone has a distinctive beginning and an abrupt ending but the
lens of Sheridan’s trusty camera can suitably detail a protagonist’s
defining moments in between the two extremes.
The inherent honesty and dramatic urgency of Sheridan’s screenplay (who
incidentally co-wrote this story with his two grown daughters Naomi and
Kirsten) brings out the family friendly flourishes that makes this
absorbing saga flow with the brimming confidence needed to make this feel
good fable warm and enriching. The crisp and romantic cinematography by
Declan Quinn (Leaving Las Vegas) heightens the graphic imagery and
personalizes the storyline with convincing aplomb. With the exception of a
few innocuous cliches that invade Sheridan’s gratifying gem, the exploits
of the tattered players in this sweetly laced drama rings with
heart-wrenching fortitude.
Considine (24 Hour Party People) is unbelievably solid as the complex
breadwinner and Morton (Sweet and Lowdown, Minority Report) compliments
his below-the-surface turmoil as quiet grieving parents cluttered in the
loss of their beloved deceased son Frankie. The movie’s core consciousness
really belongs to the heralded supporting cast headed up by the believably
mature Bolger youngsters and Hounsou’s mysterious and menacing Mateo that
occupies the same broken down building. Sarah Bolger’s Christy is our tour
guide into the frustrating dynamics that plague her numb family members.
Through Christy’s narration, we gain some valuable insight about the
flawed but determined group out to resolve whatever it is that disturbs
their emotional shock system. In many ways, Christy is the dependable
little anchor that holds everything together and her wide-eyed approach to
the everyday dismal urbane realities is encouraging if not courageous.
In America is a fascinating story about rebounding and finding one’s
comfortable place and peace of mind in an otherwise hurtful and lingering
state of denial. Sheridan serves up an earnest yet dour portrait of
despair and magically lets the audience cruise into a mental mode that’s
enthusiastic and upbeat in its thoughtfulness. If you’re a capable
moviemaker that can convince its filmgoers to accept a ghastly mudhole as
a factory filled with tasty fudge then rest assured that you are doing
your job tremendously with effortless and sheer resourcefulness. |
