Woody Allen

Lady Bird

16/02/18

Greta Gerwig is a fascinating woman. After seemingly stumbling into the film business via a series of zero budget, mumblecore efforts, she has quickly demonstrated that she is a force to be reckoned with. The semi-autobiographical Frances Ha, written by Gerwig and directed by Noah Baumbach, plays like early Woody Allen and Lady Bird feels very much like a prequel to that film, with Saoirse Ronan stepping up to the plate to play a teenage version of Gerwig. From the opening sequence where Christine “Lady Bird” McPherson argues with her mother, Marion (Laurie Metcalf), in a moving car – and then throws herself out of it rather than continue the conversation – we are left in no doubt that this is the story of a troublesome teen, who is likely to get her own way in the end.

Christine lives in Sacramento but longs to go to college in New York, where she believes ‘culture lives’. But it isn’t as easy as that. Her father, Larry (Tracy Letts), recently lost his job, her adopted step brother, Miguel (Jordan Rodrigues), seems in no hurry to get one ,and its pretty much left to Marion, a psychiatric nurse, to bring home the bacon. Little wonder the thought of paying for a place at an Ivy League University doesn’t figure highly on her agenda. She and Christine have a troubled relationship and it’s this, more than anything else, that lies at the heart of this powerful and beguiling film, which Gerwig has chosen to direct herself. Typically, she handles it with great aplomb, somehow managing to make the running time fly past and coaxing wonderful performances from everyone involved, especially from Ronan and Metcalf, who make a winning combination.

The story is often very funny (a scene where the a drama group is run by a physical exercise coach is a particular stand out), but it’s powerful enough to occasionally tug at the heartstrings too. I particularly like Beanie Feldstein as Christine’s best friend, Julie, and there’s also a nice cameo from Timothee Chalomet as one of Christine’s patently unsuitable boyfriends. Oscar nominations have been announced and, who knows, in the present climate, the establishment might finally be ready to reward another female director, and Lady Bird could well be a surprise winner.

Whatever the outcome, this is a sublime piece of film-making that never puts a foot wrong and demonstrates only too clearly that Greta Gerwig is a talent to be reckoned with.

5 stars

Philip Caveney

Maggie’s Plan

1-maggies-plan

03/08/16

It’s ironic that before the screening of Maggie’s Plan, we’re shown a trailer for Cafe Society, the kind of film that Woody Allen makes now – ironic, because the main feature is the kind of film that he used to make, back at the height of his powers. Greta Gerwig stars as the titular heroine, a self-confessed control freak who believes she has her whole life planned out in advance. Having failed to sustain a meaningful relationship for more than a few months, but deeply addicted to the idea of becoming a mother, she decides to go ahead and have a baby via insemination by Guy (Travis Fimmel) a ‘pickle entrepreneur’ who readily agrees to eschew any notion of parental responsibility. But matters become a bit more complicated when Maggie’s fellow university lecturer, John (Ethan Hawke) asks her if she wouldn’t mind reading some chapters from his novel, a thinly veiled account of his own life and marriage to the highly successful, but  extremely neurotic Georgette (Julianne Moore).

As Maggie and John’s friendship develops, it soon becomes apparent that they are falling for each other and matters are compounded when, inevitably, they sleep together

Three years later, they are a couple with a toddler to look after but Maggie is beginning to realise that this isn’t anything like the kind of rosy future she’d envisaged. As well as her own child, she’s also handling the other kids that John had with Georgette and John is too intent on that blasted novel to pay her any real attention – so Maggie hatches a devious plan to get John and Georgette back together…

The film is a delight, funny, acerbic, beautifully handled by writer/director Rebecca Miller. Gerwig builds on the sterling work she did in Frances Ha and Julianne Moore submits another of her chameleon-like performances, that stays just the right side of caricature. Bill Hader is particularly funny as Maggie’s long-suffering best friend, but to be fair, there’s barely a wrong note anywhere in this movie, which is as light and palatable as a perfectly cooked soufflé. It’s interesting to note that there are no villains in this story, just a collection of people dealing with their own life issues- and there’s a delightful surprise at the film’s conclusion that makes for a truly satisfying ending.

4.2 stars

Philip Caveney