Seeing 'Brooklyn' in the shadow of #OscarsSoWhite

Saoirse Ronan in Brooklyn

Brooklyn is a perfectly nice little movie, with some heartfelt performances (although as terrific as she is, Saoirse Ronan's pretty much saintly character has to do a prodigious amount of sobbing), but in the aftermath of the #OscarsSoWhite controversy, I couldn't help but resent the film a little bit.

Set in a hermetically sealed, idyllic version of 1950s Brooklyn, the film does not have a single character of color save for a few extras, who never utter a line of dialogue. I understand that this film isn't about racial conflicts, or the civil rights movement, but not even a mention of Jackie Robinson? It's like an alternative universe.

The story, pleasant as it is, has no real compelling conflict -- our heroine's great challenges are homesickness and deciding between two gainfully employed and adorable would-be spouses.

I couldn't help but think about the fact that a film like this, with no major stars and a sentimental, even sappy, story would never be financed and given the awards push this film has received if it didn't feature an all-white cast. And that made me angry.

I didn't hate this film. Don't get me wrong. It's charming and sweet. It's very pretty to look at. It's the kind of movie you can comfortably recommend to your parents. But it didn't have an ounce of the emotional impact on me that Creed or Beasts of No Nation or Straight Outta Compton did.

Now, I don't believe that Best Picture nominees need to be about big overarching themes. I adored Lost In Translation, and that is little more than a small character study of two lonely people. So the lack of narrative complexity didn't bother me when it came to Brooklyn.

I simply felt like I wasn't seeing something I hadn't seen before, and, as I did with another critical darling -- Carol -- I often was ahead of the film's plot, mentally telegraphing scenes before they happened. Is that the mark of a great film? I don't think so.

Beasts of No Nation

But Brooklyn will likely find an audience, even if it doesn't take home any Oscars. It will likely draw in more white viewers who simply presume they will be able to better relate to its characters than the ones in a so-called 'black' film, while minority audiences are often left with no choice than to identify with white characters on screen, and make the most of it.

Speaking of white privilege, without spoiling the film -- it is fascinating that the lead character arrives in the U.S. from Ireland with a pre-arranged job and place to stay. Oh, and she almost instantly falls in love (if you have seen the trailer, you have largely seen this movie), and yet we are supposed to feel deeply sorry for her.

It's a tribute to Ronan and the cast that the film is as engaging as it is. And while the costumes and cinematography are first rate I couldn't shake the feeling that I was watching a film lacking heat and authenticity. It was a pretty painting without a lot of depth inside.

Still, it's refreshing to see a film with a female protagonist with agency and I can't say you shouldn't see this film. What I will say to those who are refusing to see Beasts of No Nation because they fear the subject matter is too heavy, you ought to see that too in addition to this.

Black audiences have to often endure treacly odes to a pre-civil rights America, so the very least you can do is get a glimpse of a life outside your comfort zones.