Set in 1920s New York, The Immigrant tells of two sisters, Ewa (Marion Cotillard) and Magda, who come through Ellis Island looking to escape war-ravaged Poland. Magda is quarantined due to illness whilst Ewa is refused entry and set to be deported before a man named Bruno (Joaquin Phoenix) notices her and bribes a official to release her into his care. His motives soon reveal themselves as he draws her into his troop of dancers and prostitutes who use the local Bandit’s Roost theater as a front. Bruno keeps Ewa working while offering to eventually use his contacts to help get her sister released as well as track down her aunt and uncle who both reside somewhere in New York.
While working at the theater, Ewa catches the attention of Bruno’s cousin Emil (Jeremy Renner) who performs as an illusionist. Soon a love triangle develops between the three as Ewa tries to escape the life Bruno has trapped her in and reunite with her sister.
On the surface, The Immigrant draws your attention, not just visually, which I shall return to later, but in its inception and reception. One of the Weinstein projects no doubt touted as awards fodder, nominated for the Palme d’Or at the 2013 Cannes Film Festival, it’s a look back at an aspect of America’s history coupled to some notable actors in Phoenix and Cotillard, and a personal project from writer/director James Gray who based much of the screenplay on stories from his grandparents.
Despite this pedigree, the film itself never quite grabs you in the way it should. Visually it delivers, a golden hue lighting up a wonderfully realized 1920s New York akin to the flashbacks of Godfather Part II. It looks like a classic but never reaches those heights. There is a bleakness to the film that feels very appropriate for an era that’s often glorified, but in truth was a far more desperate time. This gritty realism suits the tale well, but the issue comes from the scripting itself. The film never picks up any pace and instead falls into a repetitive cycle, with Ewa being repeatedly teased with her freedom or union with her sister only to be dashed. It’s rather dour viewing, and with the cyclic nature becomes frankly boring at times. It’s a character, a survivor you want to root for, but there is never any real emotional connection despite the efforts of many in the cast.
Cotillard brings a presence similar to that in La Vie En Rose, delicately balancing the levels of dignity being gradually replaced with shame and self-loathing. But with everything thrown at her, the perfomance comes across a little too passive, a stunned bystander in the New World looking dazed at many points in the film. Phoenix starts a little subdued and awkward but as the film progresses crafts something memorable in his role as Bruno. Renner, however, continues to show he really lacks substance when pitted against truly talented actors.
THE PACKAGEAs mentioned, the film is rather stunning and transfers nicely onto Blu-ray. The approach of the filmmakers was to imbue the film with a hazier, period-like appearance in favor of sharpness, and the transfer reflects this. There are some issues with blacks in parts, but overall it’s a nice viewing experience.
Special features with the package include a commentary with writer/director James Gray. He fleshes out the background to the film with tales from his family or experiences on the set. The commentary packs more of a personal punch that anything in the film itself, which is a shame. There is also a very short featurette, The Visual Inspiration of The Immigrant,that woefully under-serves the exceptionally well crafted aesthetic of the film. Disappointing.
THE BOTTOM LINEThe Immigrant showcases some sumptuous production quality and excellent performances; however the tale crafted fails to connect, coming across as a hollow retelling of a minor historical tale rather than something more emotionally resonant. There is much to appreciate, and while it aims for greatness, in the end it just leaves you a little cold.
