Lady Bird (2017, R)

Trying to get started a bit early on a few likely Oscar contenders.  I’m kicking off the season with Lady Bird, which is a bit of a “little indie film that could” but also includes a pretty decent pedigree.  The film stars two-time nominee Saoirse Ronan, who was most recently nominated in 2015 for Brooklyn, and features Lucas Hedges (nominated last year for Manchester by the Sea) and Timothée Chalamet (currently buzzed about for Call Me by Your Name.)  Plus, the film is written and directed by Greta Gerwig, who has yet to receive any Oscar nods herself (soon to change?) but who I became acquainted with as an actress last Oscar season through both 20^th Century Women and Jackie.

Christine is ready for a change.  Walking past fancy Sacramento houses on her way home to “the wrong sick of the tracks” makes her long for a different income bracket, and she’s praying that college can take her to a different coast.  In the meantime, though, the most she can manage is a different, more interesting name.  Christening herself “Lady Bird,” she explores theatre at her Catholic school, crushes on boys, makes plans for the future, and struggles to get along with her mother.

It’s a strong coming-of-age film.  While the basics of the plot are pretty typical of the genre, the details are really well-realized.  The movie does a great job recreating the early-2000s backdrop, and tons of little notes and touches just make the story feel lived-in and authentic.  Even though Lady Bird’s experiences, feelings, and thoughts are so common to many people her age, you can feel exactly how she thinks they’re completely unique to her.

The film’s best feature (as most critics will eagerly tell you) is the complex, fraught relationship between Lady Bird and her mother.  Saoirse Ronan and Laurie Metcalf really nail their back-and-forth, and the writing is pitch-perfect for just how messy that type of relationship can be.  It’s clear that they both love each other, but they have a hard time showing that.  Lady Bird can be selfish and bratty, and her mom can be passive-aggressive and discouraging.  It’s when they’re at their most frustrated/insecure – a.k.a. when they most need someone’s support – that they push each other away the most.

I’m trying to get away from the idea that movies like this aren’t “important” enough to win many of the big awards.  Whether or not that’s true (and I do realize it often is,) that shouldn’t affect my own personal estimation of the film’s merits.  First, a movie doesn’t have to have weighty subject matter to be well-made and deserving of recognition, and a lot can be done with a small scale.  What’s more, I find that Oscar movies that tend to be considered “lightweight” are more likely to be female-centric that the “real” contenders, and I don’t want to default to that line of thinking.  Again, it’s still early in the season, and I have yet to see most of the likely nominated films, but regardless of what I see in the coming months and regardless of whether Lady Bird will really have an honest shot at something like Best Picture or Best Director, it’s an excellent film that beautifully accomplishes exactly what it sets out to do, and I don’t want anything else to take away from that.

Warnings

Swearing, sexual content, drinking/smoking, and thematic elements.