In America Review
by Jerry Saravia (faust668 AT aol DOT com)February 13th, 2004
IN AMERICA (2002)
Reviewed by Jerry Saravia
Viewed on February 10th, 2004
RATING: Three stars and a half
After seeing "In America," Jim Sheridan's new film, I was pleasantly surprised. I was surprised because the work is apolitical, which is atypical of Sheridan, known for strong political stories such as "In the Name of the Father" and "The Boxer." "In America" is my favorite kind of film, an observational story of people without subjecting them to a plot.
The people are an immigrant family, arriving from Ireland and Canada via New York City. Travelling by station wagon, they eventually find a run-down apartment occupied by drug dealers and junkies. The apartment they get is spacious and occupied by pigeons, but they make it as homely as they can. John and Sarah (Paddy Considine and Samantha Morton) are the parents of two young, smiling daughters, Christie and Ariel (Sarah Bolger and Emma Bolger). Christie narrates the story, which is as it should be, and occasionally we see glimpses of her camcorder and what she catches in her daily life. The neighbors she and her family see exist as fleeting characters whom we mostly hear in the background. The only neighbor of this apartment we get to know is Mateo (Djimon Hounson), a painter who is angry and yells at everyone (his door has a painted sign that reads "Keep Out.") Eventually, the two girls trick or treat at his door on Halloween, and he unexpectedly welcomes them in.
Meanwhile, John is an unemployed actor who can't seem to facilitate an emotional expression, so he becomes a cab driver in the meantime. Sarah gets a job at a nearby ice cream parlor. There are still problems with money at the beginning. John gambles all their money on an E.T. doll at an amusement park (just after seeing the film at the local theatre). He also carries an air conditioner in the sweltering summer heat only to realize he needs a three-pronged adapter. Sarah and his girls smile at his frustration. But can John ever learn to express a singular emotion? Will Sarah ever get him to admit he feels something for the tragic death of their young son? And will Mateo ever feel anything beyond anger?
Okay, so I have simplified the story of "In America" to that of a Hollywood tearjerker. It is not, so shame on you for thinking so. Yes, "In America" is a sentimental film but it is also magical, ingenious in its simplicity and subtlety, and never overtly sentimental in its approach. "In America" works as moments in time, reflective of the best kind of films that always work in that manner. No one can forget John's own deeds, whether he is carrying the air conditioner or playing hide and seek with his kids until he faces his wife and they make love - a truly tender sequence in itself. There is also the moment he is confronted by a junkie whom he always lends money to, until the junkie holds him at knifepoint. The surprise is how the confrontation ends. But the moment that feels real and inspired is when Mateo confronts John and tells him he is in love with their family - mostly, Mateo is telling him that he feels their love, something which is missing in his own life.
"In America" is not a perfect film, and the ending feels a little pat. Still, it is something of an unusual homage to "E.T." and the 1980's without superfluous 80's songs (there are mercifully few delivered) and fashion styles of the decade. This is a story of immigrants in modern times, trying to adapt to a strange, weird city and to live on as a close-knit family. Whether it is New York City or Paris, it doesn't matter. The issues of love and compassion are delivered in a timeless manner, and that is what makes "In America," in its simplicity and understated style, such a wonderful movie experience.
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