Nominated for three Oscars, and winning a BAFTA Best Film award, the 2015 movie Brooklyn might appear to be typical mainstream garbage. On the contrary! There is, in fact, much to commend in this piece, from its decorous sets to its resplendent cinematography. Yet the astute viewer notices something deeper and darker: ostensibly a film about a working-class Irish immigrant’s struggles in 1950s New York City, the movie subverts dominant cultural narratives about gender, and firmly reveals female nature for its ugly inner moorings.
In 1951, Eilis Lacey is a cute Irish girl who endeavors, futilely, to find good employment in County Wexford, Ireland. Her only wages come from working part-time at the bakeshop of Miss Kelly, the town’s cantankerous, gossipy old wench. Yet Eilis has dreams of becoming a bookkeeper and decides, with the Catholic Church’s support, to move to Brooklyn, New York. While there, the Church finds her work at a luxury Manhattan department store, and also pays for her bookkeeping lessons at a local college.
Eilis then falls for Italian beta-boy and plumber, Tony Fiorello, who declares his love for her before she does; this, of course, is a Cardinal Sin of Game. Regardless, they get married, for although Tony is a beta in the bedroom, he is an alpha of the world, having concrete plans for starting a home-building business and of buying Long Island property. Despite their happy marriage, Eilis avoids telling her family or friends back in Ireland.
In July 1952, Eilis’s priest informs her that her sister has died suddenly, and Eilis travels back to Ireland, without her husband, to soothe her grieving mother. While she is back in the home country, the economy has recovered, and Eilis gets part-time bookkeeping work. She also starts dating a wealthy local man, Jim Farrell, ignoring her husband’s ceaseless letters. Eilis, with her fairy eyes, wavy hair, and slim body, is what we might call a ‘solid 8,’ and she realizes that she can easily marry up, even though doing so would make her a bigamist.
Yet Eilis’s dreams of settling down in Ireland are rapidly dashed into fragments when her former employer, the curmudgeonly old Miss Kelly, beckons Eilis into her bakeshop for a private meeting. At the film’s climactic scene, Miss Kelly informs Eilis that she has received word from New York that Eilis is in fact Mrs. Fiorello.
What, therefore, is Eilis doing, gallivanting around with a local Irish lad like a common whore? Eilis storms out of the room, slams the door, and sobs, realizing Kelly’s implicit threat: her reputation, in town, could be ruined.
The next day, she packs up and returns to New York, to be with Tony, never to return to Ireland.
The Wanderlust Heart
Eilis has the atavistic female desire to aspire towards better things. She seeks to become a bookkeeper, a traditionally male discipline, and moves to New York for wealth and, perhaps, access to superior men. Back home, she appears more than willing to drop her Italian-American husband, Tony, for the promise of a wealthy Irish heir.
This breed of woman, blindly seeking ambition, comprises creatures contrary to natural law. Women are biologically inward-looking and spiritually reflective, delicate beings, who do not often attempt to usurp men’s labour. Return Of Kings warns against getting too involved with the capricious type of girl, who harbours poisonous feminist and social justice sentiments. You shall know them by their stripes: for they enjoy travel, fancy events, and take pride in shaming career men.
We belong to a time, unlike any other, in which all regulations constraining the unbridled sexual market have been loosened. The Church is powerless to act, and elders implicitly endorse hedonistic yearnings. The difference in Brooklyn is that Eilis was prevented from carrying out her fiendish desires because 1950s social institutions prevented her from doing so.
The Church, The Old Witch, and The Town
The Catholic Church still maintains some vestige of power in Ireland, which is why the country continues to ban abortions. Parenthetically, that might change, now that the Taoiseach (Prime Minister) is a gay Indian Millennial. Anyway, the Church had much more power in the 1950s, and was able to support Irish immigrants like Eilis, as they made their way across the frigid Atlantic.
Although the Catholic Church has been a net force for good, in Brooklyn its influence on Eilis is indisputably bad. The Church enables her to pursue her half-baked dreams in New York, and pays for her to qualify in a male profession. In this manner, Brooklyn’s Church is similar to Western governments today, who have opened their coffers wide so that women may open their legs. Needless to say, social programs and welfare have incentivized women to act badly, replacing the patriarchal, personal husband with a matriarchal, impersonal State.
What ultimately stops Eilis in her tracks is community: in a small Irish 1950s town, even the tiniest secrets are openly dished about, encouraging proper behaviour. After all, one does not want to be known as the town drunk, or, even worse, the town slut. Miss Kelly, who awakens Eilis to the reality of the young girl’s immorality, is the archetypical Old Witch of literature – that elderly woman who keeps young women in line.
Indeed, when Eilis lives in New York as a single girl, she inhabits a house with young women and an elderly landlady. The landlady enforces strict discipline, forbidding the girls from having men call in the evenings. The importance of older women in policing young women’s choices has always been recognized, except today of course, when such a role is brushed aside as ‘slut-shaming,’ hence confining old women to a withered state in nursing homes.
A final point should be made about the men: Tony is a beta male, but he is financially shrewd and business-savvy. Jim Farrell, Eilis’s wealthy Irish boyfriend, is more of an alpha, but his wealth is inherited, and he has no real-world skills. Society, at that point in time, motivated young women to marry a stable man like Tony.
Is it any surprise, then, that the globalist elite intends to immolate community so that they may attain power and wealth? Instead of men’s gymnastics clubs, and women’s knitting circles, we now have Facebook and Instagram, which simply encourage narcissism and hyper-consumerist mores. Women sleep with several men, leading to mental illness, while men refuse to marry, knowing that divorce portends alimony slavery.
Brooklyn’s Eilis is a warning to young women of today, and perhaps its spectre lives in all of us: that dangerous, ugly, savage human evil, squirming and struggling to break loose from heaven, much like Lucifer’s erstwhile shadow.
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