“Morris From America” is a wonderful coming of age story from Chad Hartigan. It tells the story of 13-year-old boy, the titular Morris, and his father Curtis. The two have recently moved from their native state of New York all the way to a little town in Germany. The story is a sweet trip through the emotional highs and lows that Morris and his father face in the adversity of their new territory.
The film is really brought to life by the story. At first it seems that it could slip into unwanted, clichéd territory, which it does once or twice, but the story is strong enough and unique in its characters that the progression moves forward without being muddled down in any way. The key point of the movie is Morris’ introverted tendencies and inability to make friends, which all changes upon meeting Katrin, a rebellious older teen that Morris almost immediately falls for. Katrin helps to bring Morris out of his shell and encourages him to go out and have fun, which he reluctantly does.
The story between Katrin and Morris is beautiful enough in itself but becomes even stronger as it ditches expected stereotypes and becomes a relationship that isn’t seen too much in film and television. What really brings life to the relationship, and film in general, is the vibrant colors that interlay each scene. Everything in the background and foreground is some bright shade of color that washes across the scene, breathing life into the characters and the world that Morris has been forced into. The colors help highlight another aspect of this unique story; the fact that often the problems Morris faces are his own fault.
Morris clearly laments his removal from his home city and refuses to open himself up to the possibility that his new circumstances might not be the unfair situation he saw them to be. Morris frequently rebukes any attempt that other youths make at becoming his friend, which leads him into a self-pitying sorrow revolving around his loneliness. It’s hard to watch, as the audience is so aware of Morris’ self-fulfilling prophecy. It’s only due to his infatuation with Katrin that he allows her to crack open his shell at all in the first place.
What really makes this film special is the mirrored stories of Morris and his father. Curtis, played in a strong turn by Craig Robinson, has his own series of problems that we see throughout the film. His loneliness from losing his wife as well as his inability to make friends is more depressing than Morris’ due to the fact that he is actively trying to be sociable. Watching Morris actively avoid friendship when it’s offered to him becomes even sadder as we become more aware of how difficult it is to make friends by experiencing his father’s attempts. While the more bitter tones of the movie are absolutely apparent, it, by no means, is a depressing film.
The relationship between Morris and his father is one of the strongest and well-written familial bonds in any recent film. Curtis just wants the best for Morris and the audience can see and empathize with him but simultaneously feel sorry for Morris. Their bond never falters, and it becomes the backbone of the film. It’s the resonating piece that always stays true and helps us when we’re feeling down. And it’s the same way for Morris.
