The miracle of Brooklyn is that for all of its basic modesty and simplicity it evolves into a very compelling film, devoid of usual political biases and dramatic extremes so relied upon in most of current cinema.

All of us are burdened in life with choice. Occasionally between reasonably equally good options, but mutually exclusive. Often no real basis to choose other than limited experience and intuition. How we choose is ultimately a reflection of our own nature. Such a choice is the essence of this film.

Elis, ( played near perfectly by Saorise Ronan), a young Irish girl, emigrates to Brooklyn in the early 1950s. Her emigration to America is arranged by her lovingly devoted older spinster sister, whose future is fixed in County Wexford , dominated by the care of and companionship with their widowed mother. The beautiful and able younger sister is given the chance for a profoundly different life in America that was never available to the older sister. Despite homesickness and doubt, Elis adapts and succeeds in her new world of 1952 America. Her basic nature is empathetic and caring, but also self-aware of her own interests. Eventually, she meets an American suitor , an Italian American plumber no less. Despite cultural differences, romance ensues to point that she is ready to commit herself to him and life in America.

Just at this point when she is compelled to return to Ireland because of the death of her sister. Expecting to return to America within weeks, she is cajoled to spend the summer. In the course of which , another suitor emerges , perfect for the culture and society she could go back to in Wexford, fulfilling hopes and ambitions of her mother and friends.

( Spoiler Alert!) Despite having actually secretly married the American before her return to Ireland, she is attracted to the possibilities of what life back in Ireland could mean for her. Both of her suitors are depicted as ardent, decent and caring. One with dreams of economic progress via Long Islands sub-divisions , while the other ready to continue the comfortable family business amongst the Wexford gentry.

Even though she is already married , albeit secretly, she is unsure whether she will return to America . At the point where she may actually choose to stay in Ireland, events conspire to have the choice made for her. She is threatened to have her American marriage exposed by spiteful, lonely woman she had once worked for, who fortuitously comes to know of the marriage. In a moment, she admits to her marriage, suddenly resolute in declaration of her Italian-American husband. Her future is now irrevocably in America. Her mother accepts her American marriage with no joy or support for her daughter, but rather with a kind of spite selfishness. The Irish suitor is also hurt by the revelation, unknown how his life will be affected.

For Elis, circumstances conspire to test her fidelity and honesty. But, the choice is ultimately taken out of her hands. What would she have done if her hand had not been forced? This we can only wonder about as she must for the rest of her life.

She is much wiser on her trip back to America. But doubtless sadder, both for might have been and how she confronted her own doubts and temptations

Brooklyn of 1952 is idealized in this film, its essential metaphor. It is neither gritty or diverse. It exists in contrast to an Ireland stifling in its societal expectations. It is the place of new beginnings. Choices made. Options discarded. The consequences mostly off in the future. The last scene is near perfect. Elis is re-united with her husband, both seemingly elated and relieved. But of course she carries with her the burden of what the future will bring and what it could have been. An Ozu-like moment.


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