Review: Lady Bird


Lady Bird is Greta Gerwig’s first solo directorial effort, and it covers some familiar ground. It is essentially a teen movie, much like Sixteen Candles and others, but Gerwig is smart enough to avoid some of the pitfalls that those movies fall into. The film is sentimental but not too much, and nostalgic but happily so, and has a great performance by Saorsie Ronan.

Gerwig is from Sacramento, California, and apparently has mixed feelings about it. There’s a title card at the beginning from Joan Didion: “Those who halk about the hedonism of California have never been to Sacramento,” and later Ronan will call it “the Midwest of California.” Gerwig has said this is not a straight autobiography, but she clearly knows of what she films, and we can assume that the title character, a free spirited high school senior, is the stand-in for the writer and director.

Lady Bird covers senior year of high school, 2002-2003. The film begins with the end of a college tour with Ronan and her overbearing mother (Laurie Metcalf), and to escape her mother’s hectoring Ronan jumps out of  a moving car. She wants to go to the East Coast for college, somewhere like Yale but not Yale, because she couldn’t get in there. She has a best friend (Beanie Feldstein) and attends Catholic school because she has a scholarship and her older brother once saw a guy get knifed at the public high school. Her father (Tracy Letts) is of fragile employment, and has more of soft spot for her idiosyncratic ways (to start with, her actual name is Christine, but she changed her name informally to Lady Bird).

Anyone who has ever gone to high school will recognize the arcs. She joins the theater group and gets a boyfriend (Lucas Hedges) who turns out to be gay (assume all theater boys are gay until proven otherwise). She then takes up with a cooler kid, who’s in a band (Timotheee Chalamet) and gives him her virginity, but she is upset that he is not also a virgin. She will drift away from Feldstein and hang out with the popular girl (Odeya Rush) but will lie about where she lives, as she calls it, “on the wrong side of tracks.”)

I think every intelligent, creative student has a story like this in them, and I’m glad to have watched it, but it doesn’t really push the envelope. Lady Bird is enjoyable and authentic (I like the way it doesn’t sugar coat the family’s financial struggles) and there are some very funny lines. It doesn’t reinvent the genre, but it is better than most of them. There are a few missteps–a subplot involving a priest (Stephen McKinley Henderson) creates questions that are never fully answered.

Ronan, who will probably get an Oscar nomination, is terrific. She is one of only three performers who have been nominated as a minor and an adult (the other two? Mickey Rooney and Jodie Foster) and is clearly a major star in the making, if she already isn’t one. Gerwig, for her part, is a wonderful actress but now a multiple threat, and I look forward to future films from her.


About Jackrabbit Slim

Location: Vegas, Baby! I’m much older than the other whippersnappers here, a baby boomer. I tend to be more snobbish about film, disdaining a lot of the multiplex fare for “cinema.” My favorite films: Woody Allen’s oeuvre (up until about 1990), The Godfather, The Graduate, A Hard Day’s Night, Pulp Fiction. Politics: Well, George McGovern was my political hero. I’m also a prickly atheist. Occupation: Poised to be an English teacher in Las Vegas. For many years I was an editor at Penthouse Magazine. My role on this blog seems to be writing lots of reviews and being the resident Oscar maven.

2 responses »

  1. Saw this the other week. I thought it was an impressive work, although perhaps a bit overpraised in relation to the critical adulation it received. I don’t think it’s a particularly major or notable film work; in the week or so since I saw it really hasn’t stuck in my mind and is not something that I doubt I will need to rewatch.

    Having said that, it has a lot of good stuff in it. Metcalf’s characterisation and performance was great and truthful and she was deserving of the awards adulation she got.

    The film is nicely observed, very well edited and is very likable and appealing (also good to see Lois Smith in a film again); certainly it must be one of the very first films to be based on 2000s nostalgia.

    Funnily enough the film (especially in its resolution) reminded me a bit of Lena Dunham’s ‘Tiny Furniture’, which feels like the middle-class version and not quite as good.

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