Lady Bird

LadyDirector: Greta Gerwig

Screenwriter: Greta Gerwig

Cast: Saoirse Ronan, Laurie Metcalf, Lucas Hedges, Beanie Feldstein, Tracy Letts, and Odeya Rush

A weird thing happened at the end of the new movie Lady Bird from first time director, Greta Gerwig. The lights came up in the theater and I heard a woman say, “Well, that was weird.” Then another person whispered, “That’s not what I thought it was going to be.” Lastly, someone else just said, “Artistic,” but in a dismissive way. Meanwhile, I sat there silent, listening to these strange criticisms while reflecting on how Gerwig was able to steal so many aspects and events from my life and just put it out there like that. Isn’t that plagiarism? I guess there are a few differences between the character Lady Bird and me. I was a good student, I didn’t have any siblings, oh and I call myself Gentleman Bird, but after that it gets pretty murky.

Saoirse Ronan plays the titular character, a confused high school student from Sacramento, California, who is desperate for a change, but is still pretty confused about who she is in the first place. In fact, Lady Bird’s given name is Christine, but she decided to rename herself Lady Bird, perhaps just to emphasize to the audience that she’s having a bit of an identity crisis. The year is 2002, and Lady Bird is in the midst of some pure adolescent angst. Her relationship with her parents, principally her mother Marion (Laurie Metcalf), can be described as strained at best, and the weight and eventuality of adulthood is weighing heavily down on her.

The film casually follows Lady Bird as she traverses her seminal senior year at her Catholic high school, which she attends at a great cost from her parents who while hard-working are not financially secure. Lady Bird is ashamed of her status and dreams of the day when she lives in the big house, has adventures, receives opportunity, and lives sophisticatedly. The problem for Lady Bird and the one she grapples with most throughout the film is that she has done nothing to warrant or really deserve any of those things. What’s more, her private Sacramento Catholic high school is filled with other kids who have done nothing to deserve those things…and yet they have them. The one thing Lady Bird does have going for her is an innate artistic spirit that is picked up on by her nun teacher Sister Sarah Joan (Lois Smith). Sister Sarah Joan encourages Lady Bird to take that spirit and apply it to the school theatre program, which she does along with her best friend Julie (Beanie Feldstein) and Danny (Lucas Hedges), a young man, Lady Bird finds attractive.

That’s the gist of the film. It’s really rather typical in terms of its story, but there are some bits of brilliance that do move the “coming of age” film needle. Lady Bird owes a lot to the sensibilities of predecessors like Juno, The Bling Ring, and most of all Terry Zwigoff’s 2001 film, Ghost World. All of these films take a different perspective at youth culture and its influences. They all attempt in their own way to diagnose what has lead to the overwhelming degradation in the aspirations of young people, and guess what, the young people are rarely the most to blame. Yes, what this film adds to the mix is a cutting and complex portrayal of the parent/child dynamic. In retrospect, the opening scene of the film (which I think runs the gamut of human emotion all within the course of two minutes) prepares the audience for this tumultuous relationship, and as this thread develops, it grounds the film and makes it more significant. Metcalf’s portrayal of Marion may be the stand-out performance in a film with several other stand-out performances. She is likely the name we’ll hear most associated with this film come Oscar time, and if not, Marion’s character is certainly the one who is left rattling around in my head at the end.

Lady Bird is not a perfect movie, and it’s not a groundbreaking movie. It is, however, excellent at what it does, and it is very easy to like. Even those people who left the theater with me who were caught off guard by Lady Bird, most likely liked the movie. This is probably because unlike many mainstream films, Lady Bird has several different methodologies that an audience can take away. It’s a coming of age story, it’s a religious parable, it’s a family drama, it’s a love story, it’s a story about rejection and acceptance, about friendship, and that’s just the tip of the iceberg. It is also a film that positions writer/director Greta Gerwig as one of the foremost emerging storytellers in cinema. B+

Lady Bird is rated R and has a running time of 1 hour and 34 minutes.

The Bling Ring

ImageSofia Coppola’s life of privilege is no secret; I mean she is a Coppola, daughter of Francis, and even appeared in all three Godfather films (she was one year old in the first one).  Privilege is an interesting topic, and the exposure of the jaded nature of the privileged is not a new subject for the film industry.  Coppola has forged this territory before first in 2003 with Lost in Translation, then in 2006 with Marie Antoinette, next in 2010 with Somewhere, and most recently with this year’s release of The Bling Ring.

Based on real events detailed in Nancy Jo Sales’s Vanity Fair article, The Bling Ring is about a group of shallow, obsessive teens who rob celebrity homes in order to emulate their lifestyles.  After using the Internet to track celebrities’ whereabouts, Marc (Israel Broussard) and Rebecca (Katie Chang) begin hand picking the residences of out-of-town celebrities to burgle.  Their three close friends Nikki (Emma Watson), Chloe (Claire Julien), and Sam (Taissa Farmiga) round out the ring of thieves who steal over $3 million worth of property in one year’s time.

This story is ripe for the hands of Coppola.  While known for searching for the sympathetic side of degenerative celeb culture, she is not quick to pardon the acts of these characters.  The Sleigh Bells’ song “Crown on the Ground” plays during the film’s opening credits suggesting the forthcoming loss of innocence and selfish deviance of the characters.   Coppola draws from Sales’s article to construct a twisted Bonnie & Clyde-like story with less-than admirable protagonists.  Here Coppola analyzes youth culture and its influences in an attempt to diagnose what has lead to this overwhelming degradation in the aspirations of young people.

While it is easy to blame Rebecca, Marc, and company for their ultimate predicament, Coppola does not place the blame solely on them.  Nikki and Sam’s mother, Laurie (Leslie Mann), religiously feeds her daughters Adderall because she is too consumed with vicariously preserving her own youth through her children’s experiences.  This pill/pharmaceutical culture is clearly linked to the excessive substance abuse carried out by these young characters.  Furthermore, Laurie lacks the backbone to provide a leadership role in these girls’ lives, yet attempts to home-school them with weak lessons about moral guidance.  This hypocrisy of adults presents an additional element to explain how and why the film plays out as it does.

Coppola also frames her film with confessionals from the “ring” after their inevitable capture.  In these confessionals, the young criminals speak frankly about how their society and surroundings damaged their self-image and consciousness to the point that they were motivated to do something about it.  Coppola proposes the question that with the media’s focus on saturating the market with the glamorous lives of the over-privileged youth who seemingly were handed fame and fortune, how is patience, hard work, and morality supposed to compete?  This is a disgusting question, and one that mature adults can easily answer, but the question is posed to immature, poorly guided young people, thus the answer is archetypically suggested by this film.

It is easy to dislike this film.  However, much like last spring’s Spring Breakers one must see the forest for the trees.  There is a mess here, but it is one often swept under the rug and films like this try to show what happens when too much dirt accumulates.  This notion is most realized when examining the captivating character of Nikki, played brilliantly by Emma Watson.  Nikki utters the film’s last words, which I will not spoil here, but the message is loud and clear and it resonates as Frank Ocean’s “Super Rich Kids” plays during the closing credits.  What I will say is that Watson has a cameo in Seth Rogan’s This is the End, and while that film certainly earns its title – perhaps this film is even more deserving.  The Bling Ring is one of Sofia Coppola’s best films in an impressively growing filmography.  Her subject matter may not vary much from film to film, but she has a knack for finding new, fresh ways to interpret a theme.  It can be a “tough pill to swallow” at times, but the film is an ambitious and well-made social satire that feeds off of the very problems it wishes to expose.  It is a weird yet substantial film!  A-

The Bling Ring is rated R and has a running time of 1 hour and 30 minutes.  Go in with an open mind and broadened expectations.  Also keep an eye out for Sofia Coppola’s good luck charm, Kirsten Dunst who makes an uncredited third appearance in a Sofia Coppola film.

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