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Rate This. An innocent immigrant woman is tricked into a life of burlesque and vaudeville until a dazzling magician tries to save her and reunite her with her sister who is being held in the confines of Ellis Island. Director: James Gray. From metacritic. Watched Best Joaquin Phoenix Movie.
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Two Days, One Night I'm Still Here I Comedy Drama Music. Walk the Line Biography Drama Music. Edit Cast Cast overview, first billed only: Marion Cotillard Ewa Cybulska Joaquin Phoenix Bruno Weiss Jeremy Renner Belva Jicky Schnee Clara Elena Solovey Edyta Bistricky Ilia Volok Wojtek Bistricky Angela Sarafyan Magda Cybulska Antoni Corone Priest Patrick Holden O'Neill Oskar Straub Robert Clohessy Immigration Official Adam Rothenberg Edit Storyline Country: USA.
Language: English Polish Latin. Runtime: min. Color: Color. Edit Did You Know? They would shoot a scene and he would walk up to Marion Cotillard and say - because he loves Marion - "I'm so sorry, I'm so sorry. He couldn't come down. He kept saying to Marion, "I'm so sorry, this is not me, it's not me. Carusos's last performance was in late December , after which his health deteriorated.
Magda Cybulska : [ coughing ] Ewa Cybulska : The doctors are looking, try to hold it in. You're just nervous. That brings it on. I wrote a capsule review in the magazine and pulled the plot together in a couple of sentences that can be condensed even further. Marion Cotillard plays Ewa, a Polish woman who arrives at Ellis Island in and is spotted by Bruno Joaquin Phoenix , a pimp who recruits her as a prostitute.
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To escape that way of life, she prepares to follow his cousin Emil Jeremy Renner , a magician, out West. His reconstruction of the teeming and striving, grimy and grim Lower East Side of is both compact and vast. He conjures a deep and panoramic view of the city by means of implications and incidentals. The details of the film—which Gray co-wrote with the late Ric Menello—are majestically coherent and picturesque.
Gray spoke with me last year about his friendship and collaboration with Menello, an extraordinary cinephile. He captures the whiplash wiles of hardscrabble underdogs and the bitterly ironic and violent ricochets as their schemes turn against them.
All of this is enriched with psychological depths that ripple through the subtly unbalanced compositions. Gray renders classical cinema even more monumental and painterly than the works at its source, but the solidity of his frames is broken by the crude, indelicate, furious emotions under the surface. Then the movie barely recovers its poise and lurches with a stifled agony toward its exalted, open-ended conclusion.
The mythical world of immigrant ancestors evokes a sort of Western for families whose westward trail came in the twentieth century, by ocean, from Eastern Europe.
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