The Immigrant

What a beautiful story it was, a sad story of that girl Ewa, full of hope arriving in a strange country with the believe that she and her sister will be welcomed by their family! And the desperation and fear when bit by bit her hope and faith gets challenged by the bitterness of "the American dream", the bitterness of being immigrants without money or relatives, connections... Marion is amazing, she acts with her eyes, her face tells it all, she actually doesn't need words... She makes Ewa a very fragile looking "girl" but with an amazing survival-instinct .. Joacquin was charming, frightening, sad, and at the end pitiful..a very dark character, despicable and yet tragic... When Jeremy comes into the story, his character adds a lot of tension with great interaction with Joacquin and Marion; repressed emotions, boyish charm , impulsiveness combined with darkness. He was really really excellent, I loved his performance.. Gray did an awesome job by building up the story the way he did, with very beautiful images, images in those amazing soft yellow ocher colors , that show us a world of those who are "damned " with very rare beacons of light... The end scene, that ending shot , was so amazing, so beautiful ! And I loved the soundtrack.

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.

James Gray's beautifully shot 1920s New York period drama about the American dream gone to seed for a Polish woman, never stumbles into soap opera melodrama and the film is actually restrained considering the heaps of drama thrown at this woman. Marion Cotillard gives a wonderful performance as the immigrant who finds herself exploited in prostitution and the script wisely never makes her blind to the fact that things will be quickly heading south for her - she's a strong, smart woman who's hostage to a miserable situation. Jeremy Renner makes the most of his small but pivotal role and is the only character who seems to be having a good enough time and he injects some munch needed energy into this story. It's Phoenix, whose shyster character is the most complicated, that never comes across convincing. And while Phoenix is never for a moment boring to watch and for the most part doesn't over act, his acting decisions seem too thought out and theatrical. While Cotillard, Renner and the rest of the cast give performances that feel natural and embody these characters, it always feels like Phoenix is acting. Though locations are minimal and the few exterior shots are usually in a tunnel, the period detail is convincing and it's a nice too see a period film actually shot on film instead of digital. The Immigrant is a good showcase for Cotillard's talents and despite its flaws, definitely worth a watch.

There is nothing new or surprising in the story: a poor young immigrant girl who is fresh-off-the-boat taken advantage of, and is sexually exploited by another survivor (just one step above in the food chain ladder) in the golden age of immigration in America.

The acting is good, but the script is quite poor and the direction merely goes through the motions of formal correctness without adding depth, or a true reflection, or a new insight on the matter.

The characters lack in complexity and reality; the revealing of social injustice is more a "homework making" of a formal outrage than a truly insightful exploration of human miseries.

It is an average film with minor hits and major misses which, in my opinion, will not make its way through history, even for easy-to-please audiences as the lovers of Hollywood movies.

"The Immigrant", James Gray's newest film, while retaining some of the gritty dark-crime dramatics of his previous work, feels like a radical departure. Mainly because its an Ellis Island-era period movie set 100 years ago, and because its observed through the eyes of a female protagonist and her struggle against permanent blight and the inherent depression of the situational times.

Fleeing the brutalities of Trotsky's Red Army, Polish Ewa (Marion Cotillard) and her sickly sister arrive in New York cira 1920. When her sister is quarantined and both are threatened with deportation, Ewa is taken notice and saved by the faux-sensitive brothell pimp Bruno (Joaquin Phoenix) and blackmailed into prostitution. Just when Ewa may succumb to the sort of drab, bleak life that she was trying to allude, Bruno's cousin Orlando the Magician (Jeremy Renner) shows up and both men via their own quirky methods try to light a fire in the heart of the pretty foreigner.

In her best part since "Rust and Bone", Cotillard is Oscar worthy in a showy albeit poetic performance (made all the more impressive that she speaks Polish throughout most of it). Phoenix is superb as usual, as the repressed and impotent man who wants to think he's in charge. But Renner steals the show. Right when you think the movie is going to slide under the weight of the misery of its subject, his Orlando appears like a glowing gaslight of fun amongst the dim rooms and crowded corridors. Like his work in "American Hustle", its criminal that his spritely performance here will go unrewarded and under the radar.

Although the universal tale of Gray's film isn't exactly something we haven't seen before (from Kazan's bold "America, America" to Ron Howard's putrid "Far and Away") "The Immigrant" presents a rare and thoughtful experience, one in which we can learn something about the lives of long ago as well as our own.