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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 remarkable 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, hobble illegally into the U.S., involving to Novel York. In theory this is to back Da open his acting career; in reality, it is an attempt to sprint from the dusky memories of young son Frankie, recently died at 5 of a brain tumor.
The performances are all, all sparkling. Samantha Morton, her hair shorn like a penitent nun’s, gives a blooming 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 sunless but worthy diety over the dejected family, alternatively reflecting their damage 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 destroy 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 study it, is a chronicle about wishes, dreams, well-behaved defeating unpleasant, families growing stronger, care for outlasting all adversity and America as the land of opportunity. It’s a exquisite 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 account is told through the eyes of Christie, the 10-year-old daughter of an Irish immigrant family recently relocated to Recent York. She narrates the chronicle. 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 distinct streak on each of her proud family’s struggles.
Another director might have taken this same legend and gone in a different, darker direction with it. The elements are there, certainly. The family is dreadful, 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 hasten dim 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 bewitching. The tenement is both scary and magical, depending upon the epic that Christie is telling the audience. No adult scrape goes unsolved for long, even ones that seem particularly bleak. Throughout these determined twists, the importance of the narrator is key. Blissful endings are vital to a microscopic girl, particularly one who feels so responsible for her hold family. At one point in the fable, 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 tale. And, while she’s telling it, it’s really intriguing and uplifting.
The acting here is uniformly terrific. Paddy Considine, playing Johnny the father, is a revelation. He’s handsome, strong, a miniature crazy and yet weighed down by wretchedness. 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, certain children without coming off as entirely too precious and cute.
The script is terrific, and the direction is quite genuine.
IN AMERICA is honest attractive.
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