“…based purely on the quality of its [Oscar] opposition, I suspect that multiple nominations will be as good as it gets for this quirky coming-of-age tale.” – Wayward Wolf.
Greta Gerwig’s first foray into directing, Lady Bird, has apparently attracted significant interest amongst the Oscar nominations committee.
Not for me.
That’s not to detract at all from what is undoubtedly a strong directorial debut, but based purely on the quality of its opposition, I suspect that multiple nominations will be as good as it gets for this quirky coming-of-age tale.
Then again, what do I know?
Perhaps predictably, the film’s leading lady, Lady Bird (Saoirse Ronan), is both strong-willed and a little bit ‘different’. Considering Gerwig’s own acting career to date, this should come as no surprise to anyone that’s familiar with her work.
Gerwig’s film is something of a tick list of teenage angst in all of its myriad forms, from losing your virginity, dating the guy that turns out to be gay, dating the guy that’s far too self-absorbed to notice you, ditching that penniless geeky best friend of yours for a richer more beautiful and popular model, to ‘flunking’ your school grades thus jeopardising your future career prospects – it’s all here folks.
But whilst on first inspection it may seem like the story board to a ropey piece of throw-away teen trash, Gerwig’s film manages to transcend the apparently disposable to produce an at times profoundly moving film which delves emotionally far deeper than it would at first appear. And it’s Lady Bird’s relationship with her mother, Marion (Laurie Metcalfe), and more latterly with her father, Larry (Tracy Letts), that truly adds meat to the bones of this piece.
Lady Bird’s relationship with her mother in particular is erratic and highly strained. Two strong-willed characters they most certainly are, constantly at loggerheads with one another.
In response to her daughter’s somewhat unrealistic lofty ambitions to attend a high-brow New York College, Marion quips that she’d be better off just leaving school, signing up for city college, going to jail and then signing up for city college again.
Marion is the mother that only wants the best for her daughter, determined that she should learn from her own mistakes in life, yet her well-meaning motives come across as distinctly lacking in compassion and seem to dismiss Lady Bird’s own feelings and ambitions out of hand.
Her father on the other hand is an open and caring parent in whom Lady Bird can confide and receive the affection that her mother is either unwilling or unable to give.
Saoirse Ronan puts in a tender performance as the confused teen lead. Timothée Chalamet continues his recent good work with his portrayal of book-bound wannabe libertarian, Kyle, but it’s the welcome return of the wonderful Laurie Metcalfe that possibly impresses most.
Lady Bird is a tale of umpteen trials and tribulations. Girl versus the world on a teenage voyage of discovery. But as much as anything, it’s a film examining just what it takes to achieve our goals in spite of at times overwhelming odds and negativity.
It’s engaging and amusing in places, and all perfectly likeable.
It’s just no Oscar winner, but there’s no shame in that.