Regie:
John CrowleyDrehbuch:
Nick HornbyKamera:
Yves BélangerMusik:
Michael BrookBesetzung:
Saoirse Ronan, Brid Brennan, Fiona Glascott, Eileen O'Higgins, Peter Campion, Eva Birthistle, Julie Walters, Emily Bett Rickards, Domhnall Gleeson (mehr)Streaming (6)
Inhalte(1)
Irland, in den 1950er Jahren. Ermutigt von ihrer älteren Schwester Rose, fasst die junge Eilis Lacey den Entschluss, nach New York auszuwandern. Mit der Hilfe des Priesters Flood integriert sie sich in die irische Gemeinde und findet eine Bleibe in der Pension von Mrs. Kehoe. Als der italienischstämmige Tony Fiorello ihr Herz erobert, fühlt sich Eilis angekommen. Eine traurige Nachricht zwingt sie jedoch nach Irland zurückzukehren. Auch in ihrer Heimat fühlt sie sich fremd. Da lernt sie den charmanten Junggesellen Jim Farrell kennen. (ORF)
(mehr)Kritiken (9)
Brooklyn is a story from the time when at least the United States welcomed economic migrants almost with open arms and all one had to do to pass through immigration control was to put on decent make-up and smile sweetly. But the film is a return to a bygone era, not only in its realities but also in its straightforward narrative. Compared to the book, it is more sentimental, more literal and less thematically expansive (it leaves out the manipulation of African-Americans and the hint of lesbian love). At the same time, however, it mostly retains the likably unforced development of events and more thoroughly develops the motif of two homes through its narrative structure. In the second half of the film, Eilis experiences similar situations as in the first half, except she is now much more experienced, having risen from pupil to teacher (the transformation culminates in the second scene on the boat, when she advises an inexperienced girl). Green is a constant reminder of home, to which other colours are gradually added, just as other emotions are added to the sadness in the protagonist’s face (instead of one emotion being completely replaced by another). The inability to cut ties to her homeland adds ambivalence to the protagonist’s journey toward fulfilling her dream – during the first hour, she suppresses her sadness, first through concentrated work, then by building a new home, only to be painfully reminded that her real and only home is in Ireland. Thus, unlike other immigration stories, the move to the US is not the end but the beginning of suffering. The boldest departure from the source material is the significant abridgment of the introductory part of the story. In the book, we get to know the environment and the people Eilis will have to leave behind over the course of several dozen pages. In the film, the girl announces shortly after the beginning that she is leaving for America, which she promptly does. Therefore, we don’t have the possibility to better get to know her older and more experienced sister Rose, whose legacy Eilis develops, and thus no tension arises with respect to which of the sisters deserves success and which will ultimately achieve it. Eilis can easily be accepted as a traditional romantic heroine. The film is thus less subversive than the book in relation to the conventions of idealistic narratives about the fulfilment of the American dream. However, it preserves the book’s narrative straightforwardness and its matter-of-fact, unsentimental tone, as it does not simply communicate to us in words and music what the protagonists is going through, but lets us experience it with her. 80%
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Eine schön verfilmte, sanfte, romantische Geschichte mit dünnem Inhalt. Beziehungsweise mit einem Inhalt, der die Ereignisse im Leben aus der Sicht der Frauen wahrnimmt und sie auch so löst – vereinfacht und durch Tränen. Die Oscar-Nominierung für den Film des Jahres kann man trotzdem verstehen – dem "gelobten Land“ drängt er sich in höchstem Maße auf.
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Eine Art niedliches rot-grünes Bücherregal mit Pastellrand. Wenn denn da mehr dran ist, als Schorsches sensibles Zögern darüber, ob eher seine Liebe gegenüber dem verkümmerten italienischen Bidetreparateur entflammt, oder zu einem stinkreichen irischen Nazi aus Star Wars, so habe ich das wahrscheinlich übersehen, doch das wird wohl an der Überdosis an Farbe, weichem Licht und irischer Musik liegen. Letztenendes bin ich auf den Film noch nicht einmal sauer, es ist lediglich eine Zusammenstellung von allem, was mich bei ähnlichen Dramen regelrecht fertigmacht. Dieses Ende stellt ein wirklich sauberes Passwort aus der Klischeenzyklopädie für beginnende und endende Drehbuchautoren dar.
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Romantik pur, sehr schön. Wenn jemand eine Liebesgeschichte verfilmen möchte, sollte er das bitte so machen. Angenehm, mit Abstand (die Adaption der Vorlage stammt von Nick Hornby), mit einer guten Stimmung der damaligen Zeit und vor allem mit Schauspielerinnen und Schauspielern, denen man alles glaubt, jedes Lächeln, jede Sorge. In die allmählich aufblühende Saoirse Ronan würde sich jeder verlieben. Und wenn dieses zarte und ätherische Mädchen weint, würde es auch einen Stein rühren. Ich sehe keinen Grund dafür, nur deshalb eine niedrigere Bewertung zu geben, weil es eine "einfache Romanze“ ist. Das stimmt vielleicht, es geht aber um den Eindruck, den sie in mir hinterlassen hat. Und der ist großartig.
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An Irish movie about Irish immigrants in the middle of Brooklyn. So obviously, a movie that a lot of families could relate to. Personally, I liked Saoirse Ronan the best and I must say that the young Italian was right; Irish girls are prettier than the Italian ones. Even those in this movie have something about them and Saoirse is outright radiating beauty. The story isn’t anything extraordinary. You can pretty much guess it based on the premise. It’s not an innovative drama, but on the other hand, it’s proper filmmaking. And that’s definitely worth something.
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A film just like its main protagonist: a gray mouse carving a path between more attractive and prominent ones. And thanks to the fact that the role of Eilis is custom tailored for Saoirse Ronan, I feel her desire to make her own decisions at life's crossroads very closely. However, if the last act had taken a slightly more mature direction, I would have believed all of Brooklyn. The questions around relationships and bridges that can't be burned, either towards each other or away from each other, were painful for all of us. To wrap them up with a rich harlequin romance was, therefore, a cheap shot.
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For a moment you have the feeling that it will resemble the best of Minghella in its innocence and precise direction, sometimes the main trio's Atonement winks at us with its atmosphere and fatefulness, and in the end you will recognize only a modern, subtly made, sometimes emotional romance for not completely stupid viewers who want something more, but mainly nothing inventive, beyond their perception. A punishingly mediocre film, with an excellent performance by Saoirse Ronan, who is wasted here for such a normal story with such a lacklustre denouement.
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A Rosamunde Pilcher-like sweet pastry wrapped in an American flag that is a straightforward example of academic and emotional cynicism. Everything is at a high level of craftsmanship and with great actors who make us believe the emotions, but at the same time the story is terribly pathetic, predictable and artificially human, channelled through women's tears and the suffering of love. What definitely deserves the most praise is the performance of Saoirse Ronan, the rest will soon be lost in the crowded cinematic memory.
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I can't help it, but this movie just couldn't fully captivate me. The story didn't entertain me, even though I see a certain depth in it that comes with its point. As a romance, it's pleasantly calm; there are no intense scenes, which I like. It's well made in how the world tries to influence one life. And he won't let it happen. But I'm not thrilled with the film.
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