2017’s “Lady Bird“, written and directed by Greta Gerwig.
Starring Saoirse Ronan, Laurie Metcalf, Tracy Letts, Beanie
Feldstein, Lucas Hedges, Timothée Chalamet, Odeya Rush, Jordan Rodrigues, and Marielle
Scott.
Nominated for an Academy Award for Best Picture, Best Actress
(Saoirse Ronan), Best Supporting Actress (Laurie Metcalf), Best Director (Greta
Gerwig), and Best Original Screenplay (Greta Gerwig).
What is it about?
“Lady Bird” is a coming of age fable about a grade 12
teenager (wonderfully played by Saoirse Ronan) growing into adulthood. Based in
Sacramento in 2002, we meet her family (her mother, played beautifully by Laurie
Metcalf, her father, a dependable Tracy Letts, and siblings Jordan Rodrigues
and Marielle Scott). Lady Bird (a nickname Ronan gives to herself) feuds with
her mother and siblings, and lies to others about meaningless and meaningful things.
While showing a full heart, she crushes on boys, experiments with different
social groups, and dreams of going to college on the East coast. Will this Lady
Bird be able to become the best person that she can be?
Why is it worth seeing?
Semi autobiographical, writer/director Gerwig proves that
she is a serious triple threat after previous efforts such as co-writing and
starring in such films as 2012’s "Frances Ha" and 2015’s "Mistress America".
In her directing and solo writing debut, it is a patient but never plodding
take on the frustrating splendour of adolescence, and a welcome addition to the
coming of age tale genre.
It’s easy to imagine Gerwig casting herself as well,
herself, after playing other people so
well, so to watch her instead place Saoirse
Ronan as the free spirited Lady Bird is commendable- and perfect. Ronan is impeccable
as the young lead, so frustrating and inspiring in equal measure. But what’s a
hero without a villain? Laurie Metcalf is pitch perfect, as Lady Bird’s mother
and occasional sparring partner. Metcalf proves herself capable of both showing
the great love and pride she has for her eclectic spawn, while also slinging
some serious zingers in battles that she ultimately will never win. Helping
enormously in the fight for Lady Bird’s soul, is Letts, as the depressed father
who referees household battles, and Beanie Feldstein, as the best friend who is
always there for Lady Bird, no matter the lack of reciprocity.
Gerwig also keeps things real, in the class warfare depicted
here in the “midwest of California” Sacramento. Topics of money and social
mobility come up often, and watching fathers compete with their sons for jobs
when not at their overcrowded homes is a sobering reminder of the close
proximity many Americans have to the fringes of society. Lady bird frequently
acknowledges this while never putting it in the foreground- or trying to solve
a problem that few can solve.
Gerwig has said that “Lady Bird” is her love letter to her
home town of Sacramento, which after observing her previous films (and
considering her current city of residence: New York), is hard to believe. While
it may very well hold a dear spot in her heart, I think love letters to cities
look stronger when they’re like this,
and this.
As well, Gerwig sometimes displays her artist flag too
prominently. For example, the character of the drama teacher replacement, whom
is presumably a sports coach, is cartoonish and simplified, in a movie that confidently
displays it’s complexity and nuance.
While it may not always honour it’s geography, the great casting
and performances, refreshing patience, humour, and sweetness celebrate the journey of adolescence and make “Lady Bird” a lovely creature that can really sing at times.
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