C'era una volta a New York

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.

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.

I just finished this movie and wanted to leave a review, while the credits are still rolling.

I'm one of the harsher critics on IMDb, but I enjoyed The Immigrant. This is a dark film about Prohibition-era New York, and the trials of Eastern European immigrants who have come here in the hopes of a better life.

Like most good films, good and evil are blurred. We aren't asked to judge the characters, but rather to observe them as they are.

The plot is solid and the performances are impressive, particularly Marion Cotillard and Juaquin Phoenix.

The opening shot of James Gray's "The Immigrant" is, rather befittingly, the Statue of Liberty, circa 1921. For Lady Liberty, herself of foreign origins, exemplifies the ideals and ambitions millions upon millions of immigrants have sacrificed and labored for in the hopes of one day achieving. The camera then pulls back slowly and the statue disappears into the background, for this is no grand tale of success or prosperity, but of the hardships and struggles associated with the vast majority of immigration experiences.

The title character refers to Ewa Cybulska (Marion Cotillard), a Polish immigrant freshly off the boat at Ellis Island alongside her sister , Magda (Angela Sarafyan). The sisters are hastily separated when Magda is unable to conceal her illness (later discovered to be tuberculosis), and is promptly quarantined. Faced with deportation, Ewa is recruited by Bruno (Joaquin Phoenix), a shady theater promoter, who is able to furnish her with a bed and employment.

Ewa finds her situation anything but ideal, and it is not long before her body becomes her greatest commodity. Feeling exploited by Bruno, she manages to locate her aunt and uncle, earlier immigrants living in the city for some time now. This effort proves futile, and she is once again resigned to operate under Bruno.

Further complications ensue when Emil (Jeremy Renner), a magician and Bruno's cousin, enters the picture and is instantly enraptured by Ewa. Partly seeing it as an infringement of his turf and partly out of envy, Bruno reacts hostilely towards Emil's advances towards Ewa. Ewa, whose justification for her prostitution is a hopeful reunion with her sister, is torn between the two men. Not necessarily out of love, for something so trivial surely has no use in the world of struggles Ewa finds herself in, but she is divided as to whom can properly benefit her, as she has reason to doubt both men's claims.

Showcasing a handsome reproduction of early 1920's New York, Gray's film is a very sympathetic portrait of the burden of immigrant life. As depicted in the film, the processing system dehumanized the migrants, frighteningly close to the same degree as the slave processing in "Goodbye Uncle Tom." If one was lucky enough to make it through customs and into the country, "The Immigrant" pulls no punches in representing the strife of the urban environment at a time where work came cheap and arduous, as was human life.

As one would come to expect by now, Marion Cotillard, who has been nothing less than terrific in various foreign and domestic films in the last couple years, is well cast as Ewa. Able to channel the character's sympathy without falling victim to excessive sentiment, Cotillard's Ewa is a woman who has convinced herself to make the necessary sacrifices, yet cannot help but to bear the guilt. Though Cotillard's Ewa may doubt her methods, her zeal is never up for question. She is absolutely determined to see her sister again from whatever cash she can scrap together, and the end will surely justify the means.

Also notable is Phoenix, who continues his recent career renaissance following 2012's "The Master" and 2013's "Her." Bruno, as played by Phoenix, is undoubtedly taking advantage of Ewa and her situation, yet there is a sense of gentleness and care that Phoenix is able to bring to the character. Under Bruno's wing, Ewa may be compromised, but she is cared for and secure. Bruno never physically abuses her or coerces her into something she isn't prepared for, as her path into prostitution was clearly forged given the situation, whether she came across Bruno or not. Thus Bruno's recruitment was both a blessing and a curse for Ewa. Great credit should go to screenwriters Gray and Ric Menello and actor Phoenix for carving a well-structured and nuanced character out of what could have easily fallen into the ranks of cliché.

As her character states early on, Ewa's only ambition in coming to America is "to be happy," yet she finds her conditions to be anything but. Thus "The Immigrant" is a testament to the trials and tribulations that countless individuals and families have endeavored (and those who continue to do so) at the aspiration of forging a better lives for themselves.

"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.