A pair of films addressing very different aspects of the American experience, and set 92 years apart, have screened in Competition over the last couple of days: Alexander Payne’s "Nebraska" and James Gray’s "The Immigrant." Sad to say, I had expectations for both but didn’t engage with either, although admittedly my perceptions may be tainted by the cumulative effects of a nine-day onslaught of early morning screenings and inevitable late nights. Festival fatigue has arrived!
While they exist on opposing ends of the spectrum in terms of genre, tone and narrative ambition, both films do depict, in their own ways, an
America that’s dog eat dog, money-obsessed and not especially harmonic despite
any surface niceties expressed or warm embraces offered.
The lead character in "The Immigrant" (Marion Cotillard) is trying to survive in a new world, and ends up trying to make money or steal it. At one point she even says with a heretofore unseen ferocity, “I love money!” Cotillard plays Eva, a Polish woman freshly arrived at Ellis Island in 1921 who is separated from her tubercular sister and falls into the clutches of Joaquin Phoenix’s Bruno, a Jewish pimp running a prostitution ring off the back of his ‘mistresses of the world’ variety show. Cotillard’s Eva quickly learns what’s important for surviving and profiteering in America.
While that’s not uniquely American, just human, there were
moments in Nebraska where I just felt the film veering into condescension
towards its small-town characters. Working for the first time from a script he
didn’t write, Payne, who also shot in black and white to foster a mood of
economic decline and social malaise, often casts locals in his films and does
But the lives portrayed in Nebraska are as barren as the plains state’s landscapes, with conversations limited to hellos, goodbyes and “What car do you drive?”, and family reunions that mostly involve vacant staring at the television. David’s parents (including "About Schmidt" actress June Squibb as his angry, plain-speaking mother), meanwhile, can hardly stand each other – but like so much of Nebraska, it’s yet another shallow detail that doesn’t amount to much. I did like Dern, though, and you can always count on Payne to hit the comic mark on several occasions.
While neither offer a compelling milieu, Gray’s unconvincing miserablist epic does at least get a significant lift from Darius
Khondji’s exquisite, sepia-tinged photography. The final shot in "The Immigrant"
is to die for, and there are many more leading up to that moment that also
ravish the eyes. The same can be said for Cotillard, one of the most facially
expressive and beautiful actresses working today. You can admire her level of
commitment as Eva in "The Immigrant"; she speaks Polish like a native. But
I’m afraid Gray has let Cotillard down, in that he hasn’t guided her
performance in the way that, say, Olivier Dahan did in "La Vie En Rose," or even
Jacques Audiard in "Rust And Bone." I never felt that I had a firm grip on who Eva
was, and some of Gray’s creative decisions regarding where to swell the
saccharine score and frame the close-ups almost felt like something you’d see
on Funny Or Die, a spoof on how to manufacture an Oscar-winning performance.
The script, in general, was undermined throughout by clunky, expositional dialogue. Jeremy Renner was unconvincing as a street-smart magician; his adversarial face-off with Phoenix for Eva’s affections never generates any momentum.
I will revisit "Nebraska" down the line with a fresher pair of eyes. "The Immigrant," on the other hand, I’m confident will not be making my Top 10 of 2013 list.
A Cannes review round-up of "Nebraska" is here; 'The Immigrant" early reviews are below: