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Lady Bird (2017)
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Director:
Greta Gerwig |
COUNTRY
USA |
GENRE
Drama/Comedy |
NORWEGIAN TITLE
Lady Bird |
RUNNING
TIME
93 minutes |
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Producer:
Scott Rudin
Eli Bush
Evelyn O'Neill |
Screenwriter:
Greta Gerwig |
Review
"Lady
Bird" she demands to be called, the high school senior played by
Saoirse Ronan in this indie-turned-mainstream hit. It's a name she has
chosen as part of a rebellion against her controlling mother (Laurie
Metcalf). We've all been through that formative phase in which we
need to distance ourselves from your parents. It's just that for Lady
Bird, this need turns out to be a little more existential than for
most.
Lady Bird is written and directed by Greta Gerwig, her first as
a director. It's a coming-of-age story, and to some degree also a
high-school movie, albeit a far more psychological profound one than
your run-of-the-mill entries in this genre. The core of the story is
the relation between Saoirse Ronan and Laurie Metcalf as the mother,
and this is also the most interesting and dramatically powerful
aspect of the film. Metcalf's performance is a powerhouse of inner
drive coupled with a lack of self-reflection, and her many clashes
with other people's (most notably her daughter's) perception of
normal interaction make her flawed, even tragic, in a way that
evokes emotions from both extremes of the scale. From Lady Bird's
perspective, it all boils down to the disparity between the need for
belonging and the need for detachment which typically manifests
itself during the teenage years, something writer/director Greta
Gerwig illuminates with skill and fresh eyes. Granted, the
originality of the story has more to do with the mother than the
daughter, but neither of these characters would exist without the
other.
Along
the way, we also get to experience both a first and a second love,
involving fascinating characters played by two of the biggest young
male talents these days, namely Lucas Hedges (Manchester
by the Sea,
Three Billboards Outside Ebbing, Missouri) and Timothée Chalamet
(Call
Me By Your Name).
Both these sub-stories are beautifully written, played and told; they
have a tenderness to them that make them relevant and weighty.
Something the film also wants and claims to be – and almost is, but
for a somewhat obvious and colourless ending.
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