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Mercredi, juin 16th, 2010 |
Stream In America Online.
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For sheer catharsis, In America beats every movie I’ve seen since “The Sweet Hereafter” years ago. Like that movie, it deals with the aftermath of the death of a child; unlike that movie, it comes down (after worthy agony) on the side of a loving family as the only thing that can heal us.
The Sullivans, a young couple with two adorable daughters, wander illegally into the U.S., though-provoking to Fresh York. In theory this is to benefit Da begin his acting career; in reality, it is an attempt to rush from the gloomy memories of young son Frankie, recently died at 5 of a brain tumor.
The performances are all, all handsome. Samantha Morton, her hair shorn like a penitent nun’s, gives a exquisite performance driven by the despair in her eyes. The real-world sisters Sara and Emma Bolger seem completely transparent; they leave the impression they are not acting at all, but really living the loss of their beloved brother. The African actor Djimon Hounsou looms like a dismal but great diety over the depressed family, alternatively reflecting their harm and offering them solace.
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The ending will surprise you - I won’t give it away here - but it is a sweet resolution. The film seems to have a basis in truth, as it is written by director Jim Sheridan and his two daughters, and dedicated at the ruin to the memory of Frankie Sheridan (who, as it happens, was Jim Sheridan’s brother rather than his son) .
Jim Sheridan’s IN AMERICA, though you may not realize it when you gaze it, is a epic about wishes, dreams, honorable defeating dreadful, families growing stronger, cherish outlasting all adversity and America as the land of opportunity. It’s a appetizing film, touching without being too cute.
One thing you must realize throughout the film, when it takes turns toward optimism when other films would grow darker, is that the epic is told through the eyes of Christie, the 10-year-old daughter of an Irish immigrant family recently relocated to Original York. She narrates the memoir. She speeds it up and slows it down as she needs to. She talks of her sister Ariel’s fears, of her mother’s strength and of her father’s lost smile. And, most importantly, she puts a clear travel on each of her proud family’s struggles.
Another director might have taken this same chronicle and gone in a different, darker direction with it. The elements are there, certainly. The family is terrible, living in a tenement alongside beggars and drug addicts. Johnny, the girls’ father, is an out-of-work actor who’s uprooted his family to elope black memories of his son Frankie, who died. Mateo, the next-door neighbor, and Sarah, the mother, are both faced with life-threatening conditions.
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But the atmosphere that Sheridan provides us in this film is comforting and light. The city is tantalizing. The tenement is both scary and magical, depending upon the record that Christie is telling the audience. No adult quandary goes unsolved for long, even ones that seem particularly bleak. Throughout these distinct twists, the importance of the narrator is key. Gay endings are considerable to a runt girl, particularly one who feels so responsible for her hold family. At one point in the anecdote, for instance, she saves the family from their latest crisis and relates to her father that she’s been the family’s savior for a year.
Though it focuses on her entire family, it’s Christie’s narrative. And, while she’s telling it, it’s really involving and uplifting.
The acting here is uniformly terrific. Paddy Considine, playing Johnny the father, is a revelation. He’s lovely, strong, a tiny crazy and yet weighed down by anguish. Samantha Morton delivers another compelling performance, yet she comes off here as sweeter and more sympathetic than she did in the disappointing MORVERN CALLAR. Djimon Honsou, best known for his work in AMISTAD, is absolutely spectacular as Mateo, the girls’ doomed neighbor. And Sarah and Emma Bolger, real-life sisters playing the girls in the film, manage the difficult task of playing adorable, likable, definite children without coming off as entirely too precious and cute.
The script is terrific, and the direction is quite righteous.
IN AMERICA is objective glorious.
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