In America
by Mark Sells

The American Dream is alive and well in writer/director Jim Sheridan's endearing and intimate portrait, In America . The film is not so much original in concept as it is original in presentation. Told through the eyes of two young girls, In America depicts the story of an Irish immigrant family coming to America in search of a new life after a devastating tragedy. It's charming and exudes tenderness, the antithesis of the gritty, turbulent dramas that the dirrector has made a name for. This is a deeply personal work for Sheridan, who came to America flat broke while struggling to make a living. And it's one the most lovable, moving films I have seen in recent years. Maintaining a childlike optimism and playfulness, it proffers: if you believe in magic, it will set you free.

Johnny and Sarah (Paddy Considine and Samantha Morton) are Irish immigrants who come to America with their two daughters in tow to start anew after the tragic loss of their son, Frankie. But the glitter and glamour of the dream and the big city lights fades quickly as the family takes residence in an impoverished part of town and tries to settle down. Surrounded by thieves, drug dealers, and drag queens, and beset by a lack of money, running water, and air conditioning, the family tries to stay positive.

To mask the harshness of reality from their daughters and keep their spirits up, the parents enroll them in school and take them occasionally to get ice cream and amusement at the local fairgrounds. Sarah even dresses them up for Halloween while Johnny takes them trick or treating. But no one in the apartment building cares enough to answer the door or give the children candy. Disappointed but still determined, the girls bang on one last door, that of “the screaming man.” Disgruntled and sick, Mateo (Djimon Hounsou) tries to scare the little girls away, only to be won over by their fearlessness and good nature. To the surprise of Johnny and Sarah, they have all found a friend, a kindred spirit.

But the lack of money, the difficulty in finding a job, and the loss of Frankie all resurface, threatening to tear the family apart. Making matters even more complicated is the fact that Sarah is pregnant with another child, and they cannot afford the medical bills. When all hope seems lost and survival is at its most dire, in the land of opportunity, in the land of the American dream, anything is possible. Even magic.

Jim Sheridan has become one of the most prolific and successful Irish filmmakers to date, staying true to his roots, earning 13 Academy Award nominations, and delivering varying views of Irish life, history, and culture. His films, such as My Left Foot , The Boxer , and In the Name of the Father are hard-edged, powerful dramas about truth and consequences, terrorism, and personal triumph and tragedy. Going into this film, I expected a heavy-handed story of immigrants struggling to survive. But I couldn't have been more wrong.

In America is a coming of age story based on the real life experiences of Jim Sheridan and his family. In fact, he co-wrote the script with his two daughters, Naomi and Kirsten Sheridan, up and coming screenwriters in their own right. But what makes this film unlike any of Sheridan 's previous works is that it is essentially a fairy tale. It is told through the eyes of the two girls, simplistically and with a childish enthusiasm that could melt through the toughest of hardships. The only other work Sheridan has done that stands in comparison is Into the West , a story about a mythical white stallion who saves two young boys from the slums of Dublin. Both films feature adventures and challenges the children and adults must overcome; they both have a magical realism that provides an underlying texture for drama, and they both concentrate thematically on the redemption of a father figure.

As simple as the story is, it could not have worked without a superb ensemble performance. And it definitely would not have worked with a well-known cast. For the integrity of the film, it was important that we believe in the characters without preconceptions or stereotypes. The essence of the film's style lies in allowing the two daughters, Christy and Ariel, the ability to relay and shape the story with a joyous innocence. “You don't play with us,” says Ariel to her father. “Not like you used to.” This dialogue is what makes the film genuine, subtle reminders that children perceive the world quite differently than adults. And they are much more aware than you think.

Part of Jim Sheridan's brilliance is that he brings in very talented actors and actresses, brings in great source material, and stands back and lets the film evolve. Yes, Sarah and Emma Bolger are absolutely delightful as the daughters. But you also have stellar performances from Samantha Morton and Paddy Considine, who play their roles to perfection. And Hounsou's Mateo is mysterious and reclusive while coping with a disease that we're all too familiar with.

Beautifully crafted and performed, the film is not without flaws. It's unlikely that any caring, concerned parent would let their child run up and down the stairs of a building full of thievery, drug addiction, and violence. It's unlikely that a family would risk their livelihood for an E.T. doll, and it's even more unrealistic that they could all stay together after everything that's happened. But this film is refreshing because the intent is not to present a realistic, hard-edged film, but one that is nostalgic and sentimental. Rather than look at the events that transpire in the film as tragic, it opts to show them in inspiring ways. This is New York as seen through the eyes of two little girls. The appeal of In America lies in its ability to balance a simplified story from a child's perspective with the hidden complexity of adult life. Stories like this one reassure us that the ideals that we hold so close to our hearts are still worth striving for.

©2003 Mark Sells
CineScene