The Immigrant

2014’s The Immigrant, directed by James Gray.

Starring Marion Cotillard, Joaquin Phoenix, Jeremy Renner, Angela Sarafyan, Yelena Solovey, Dagmara Dominczyk, Maja Wampuszyc, and Ilia Volok.

What is it about?

Set in 1921, The Immigrant stars Marion Cotillard as Polish refugee, Ewa Cybulska. Ewa comes into Ellis Island, NY, with her unwell sister, Magda (Angela Sarafyan), who is quarantined indefinitely on the island. Told by immigration officials that due to an Aunt and Uncle’s NY address not actually existing, combined with a negative experience on the ride over that results in Ewa being eventually targeted for deportation, she runs into Bruno Weiss (Joaquin Phoenix). Bruno offers Ewa room and board in exchange for her performing in his dance troupe- and prostituting afterhours. Trying to come up with the money to have her quarantined sister released, Ewa also meets magician, Emil (Jeremy Renner), who like Bruno, takes a liking to her- and also may not be able to actually help her situation. Her resources scant, and options few, will Ewa be able to release her sister and be able to participate in the American Dream?

Why is it worth seeing?

If one wants to understand the artistic tragedy that disgraced Hollywood producer Harvey Weinstein wreaked upon the film industry, one only needs to study The Immigrant’s lack of support when being released into the media landscape. Director/Co-Writer/Producer James Gray, possessing final cut of the movie, fought against Weinstein’s wanting to change the film’s sublime ending. As a result, Weinstein delayed the film’s release, minimized its marketing, and nixed any kind of awards season buzz for its capable creators. The film was completed in 2012, toured the film festival circuit in 2013, and was finally released in 2014- receiving zero Oscar nominations. While not every movie is guaranteed a shot at cinema’s most prestigious award ceremony, Weinstein was renowned for his ability to push dark horses and underdogs to glory- and decided that he would just sit this one out. While Weinstein ended up getting his fair share of justice, The Immigrant hasn’t- it’s a beautiful, underrated, and criminally unseen piece of cinema that deserves more praise.


Co writers James Gray and Richard Menello (Menello had teamed up with Gray and Phoenix also in 2008’s Two Lovers, sadly he passed shortly after The Immigrant wrapped) write between the margins to continually exceed expectations. It’d be easy to label the film as simply an ode to the fallacy that is the American Dream, and call it a night. But Gray and Menello make it about more, make it go deeper. It would also be easy to frame Cotillard, Phoenix, and Renner’s relationship as merely some sort of love triangle. But Gray and Menello leave their resolutions to realistic and subtle ends. The characters of Bruno and Ewa are also masterful in their subtleties- for example Bruno’s clever weakness (and somewhat concealed Jewishness), or Ewa’s continual trauma that she barely acknowledges. Finally, the film’s slow reveal of Ewa’s story, told patiently throughout the film in traces, and never able to coalesce until the film’s stunning climax, is an able demonstration of the art form at its finest.

Gray, who is adept at coaxing career performances from actors, continues his proficient relationship with Joaquin Phoenix (The Yards, We Own the Night, and Two Lovers). The two exist in synch where Gray’s thoughtful intelligence wraps around Phoenix’ unpredictable intensity to create a potent dynamic, a fulcrum somewhere between manipulation and unhinged id that’s difficult to take your eyes off of. Phoenix’ excellence aside, this is Cotillard’s show. Gray, who’s had his share of experiences in working with Hollywood actors, called Cotillard the best he’s ever worked with. It’s not hard to see why. As alluded to above, she walks a fine line between victim (or even martyr), and resilient survivor. Her take on Ewa, a flawed character who is locked into her quest to rescue her sister, but whom struggles to identify with fellow Poles who are experiencing similarly awful struggles, rewards attention. She’s proud, but conflicted, hateful towards her captor but forgiving, scared but brave- it’s riveting to watch. Cheering for her, a survivor who looks like she could explode with success if she got half a break, feels right. Finally, Jeremy Renner makes yet another appearance where he’s not the star of the show, but is potent in the role of the film’s #3 as the magician who is related to Phoenix but couldn’t have different goals- other than his plans for Ewa.

Gray has always been a cinematic romantic, favouring a classical look to his films that look like they’re glossy time capsules from the 1970’s. It excels with the setting of Ellis Island (the first time a film was filmed there) and New York City during the 1920’s. The historical look contrasts with the time period’s casual racism and systemic corruption, and the subsequent patriarchal ugliness of the situation is mitigated along by the film’s stunning closing shot. Reminding of Alfonso’s Cuaron’s mastery of different subjects collaborating within a frame, it beautifully integrates existential self imposed punishment with hope. That’s the thing about the subtleties behind The Immigrant. On a surface level, it has plenty to admire- a captivating story that takes its time, characters we can feel through our eyes, and period authenticity. But behind that, there’s even more. It’s the sort of experience that rewards multiple viewings- once to get the gist, and again to savour the turns and how it gets there.

Exquisitely written, superbly acted, populated with movie stars playing flawed characters, historically accurate, and deeply felt, The Immigrant comes highly recommended as a film of underrated excellence.

Rating:

5/5

Trailer: Click Here.