Bit late to point this out now, but Brooklyn would be a terrific movie to see on Valentine’s Day. It tells the story of Ellis Lacy (Saoirse Ronan) who immigrates from Ireland to New York City in the 1950s. At first she is crippled by homesickness, but then she meets a boy… And takes courses in bookkeeping. And generally comes to appreciate her new country.
A death in the family brings her back to Ireland for a visit. She sees her birth place in a new light. Turns out there are boys here, too. Should her “visit” be extended?
Brooklyn is a gorgeous movie. Both Jean and I were struck by the lighting, of all things (and it wasn’t even nominated for an Oscar for that). And Ronan is excellent in the lead role, saying a lot with sometimes few lines. The plot is fairly simple; there are no explosions, special effects, car chases. It’s just the story of a bright young woman growing up and having to figure out what her heart wants.
It’s remarkably riveting to join in her journey.
So while that would have been an excellently romantic choice yesterday, since we’d already seen it a few weeks ago, we instead went to see The Big Short. Ying to Brooklyn‘s yang.
The Big Short looks at the few years before and up to the American housing stock market crash of 2008, and specifically at the few in the financial market who saw it coming. The film has an interesting mix of protagonists (all male; that’s the industry, and the movie is based on fact): an autistic savant (Christian Bale) who works at a major investment firm; a group of cynical hedge fund managers, led by Marc Baum (Steve Carrell) who operate at arm’s length from a big bank; and two smart young guys who invest for themselves, with the assistance of a retired banker, Ben Rickert (Brad Pitt).
They all choose to short the system; that is, to invest in a way that bets against the conventional wisdom that the housing market is solid and could not possibly fail. And they all take a lot of grief for that position.
Understanding this movie means digging into the arcania of mortgage bonds and such. The films does this is an interesting way by literally stopping the story and cutting to someone such as Selena Gomez, to explain the concepts to us directly, using metaphors.
Jean found the film kind of depressing. I didn’t, because it was so interesting, and often funny. But I did feel conflicted about it. Not quite as much as when watching Margin Call, a movie that focuses on financial advisors at that moment that they realize the housing market and the bonds they are built are about to come crashing down, and they hurry to sell as much as they can, as fast they can, by lying to thousands of investors.
This movie’s mavericks aren’t quite as evil as that. For a time, they also are victimized by the fraudulent system that gives high ratings to what are actually high-risk bonds. They are hardly fans of the fraud, greed, and corruption that created this crisis—particularly Marc Baum and group, who hope this will lead to criminal convictions and banking reform. And while they are aware that this crash will cause a lot of economic hardship. it’s not clear how they could possibly have stopped it.
But it’s still a little uncomfortable that they instead profited, quite handsomely, from the crash. As a viewer, you sort of want the crash to happen, to prove them right and the unpleasant, smug, venal financial experts wrong. But you also know that the crash means a lot of ordinary, innocent people are going to get hurt.
Brooklyn is good for your feels. The Big Short makes you think.