Friday, February 26, 2016

An insanely beautiful transformation – Swedish Dagbladet

John Crowley
Saoirse Ronan, Emory Cohen, Julie Walters, Jim Broadbent and others

1 h 51 min. Allowed

Last week wrote author John le Carré in the Guardian about the experience of to see the books turned into movies. If the pain when people until written for a long time becomes two-dimensional. And vice versa: a subordinate clause character who suddenly steps up on the big screen with flesh and blood.

I thought of Colm Tóibíns novel “Brooklyn” and John Crowley’s film version of it when I read le Carré. I loved the book – but the dimensions Crowley adds is magnificent. They are not so little that give color to the protagonist, the young Eilis Lacey who in 1952 emigrated from the Irish cavity Enniscorthy to New York.

To Eilis in Tóibíns book long is a painful passive personality is of course also linked to the time and place: a young Catholic woman – the film’s first image is from a drafty morning mass – the deceased father and a mother who is taken care of by Eilis and her sister Rose. When Eilis through the church and a priest in Brooklyn, sponsored by labor, shelter and crossing to the United States she leaves Ireland.

But the passivity of the book sometimes frustrating, the Saoirse Ronan ( “Atonement”) figure of flesh and Blood. It’s hard to take your eyes off her transformation from shy girl with homesickness to the increasingly self-confident woman who is his own. The transformation takes place during the nights seasick on the crossing, in the department store where Wan Eilis learn to treat customers and around the kitchen table at the boarding home. There is also set some of the film’s funniest scenes thanks to Julie Walters phenomenal rent lady who rules the roost with the inherent women.

When Ronan Eilis to stand there, fallen in love with the Italian plumber Tony (Cohen), it is as if she played up as much life in his own veins, which Eilis. It’s an insanely beautiful transformation that embodies the emigrant experience better than I’ve ever seen on film – to come “home” to a new location in order to dare to turn and reach for something new.

And then occurs, understood the tragedy .

“Brooklyn” is an unusual migration story because it is not just about to leave his homeland and come to another – Eilis looks not only up against the Manhattan skyline and the waves the past goodbye. It depicts not only the classic American “enclaves” – there are plenty of jokes about the number of Irish in Brooklyn – or the Catholic Church’s role in the migration. (Jim Broadbent is especially fine as a priest – but there is not an unimaginative filled the role in this film.) Yes, “Brooklyn” also captures life in a new place with a different place left in the soul, and how frictions and requirements may arise .

to say that it is “a film for our time” is of course the arc – “Brooklyn” is timeless because humans have always migrated. But perhaps the film yet, despite the oceans of difference between a young Irish in Brooklyn in 1952 and a lone Afghan boy in Sweden in 2016, capturing the vulnerability and the feelings a person who is new and alone in a place experiencing.

For emotion is “Brooklyn” filled: it is a charming, sad, funny and touching film. And as ridiculous well played – the interaction between Tony and Eilis when they fall in love melts the hardest cynikerhjärta – as it is välfilmad. It is impossible not to think of Todd Haynes ‘Carol’ which takes place in the same city, the same year.

But Yves Bélanger , which among other things was behind the camera on Xavier Dolan’s masterpiece “Laurence Anyways”, sticking never as “Carol” in the details. Still there are at least as beautiful dresses, hairstyles and delicious environments – be it Irish village shops, the New York diners or blue painted muraler that frame the beach at Coney Island. But they were subjected always the story. Perhaps it is typical even been too much backdrop in relation to Colm Tóibíns book so well captured the 50th century transformation of television’s advent, greater freedom for women and blacks who were shopping at the department store where Eilis work.

But there is a minimal objection – for I dare say that John le Carré is not the only writer who has reason to be jealous of Colm Tóibín.


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