Lady Bird (2017)

Smith’s Verdict: ****

Reviewed by Tanner Smith

How in the world am I going to describe “Lady Bird” in a way that makes it sound even a little like the film I saw and admired?

Well, I can try… let’s see… “Lady Bird” is an independent film about a rebellious Catholic schoolgirl going through her senior year. As she looks for colleges far away from home, she goes in and out of relationships with her peers, struggles with her mother who is hard on her, and has experiences that readies her for the roughest experience of all: life.

See? The way I described it makes it sound dissimilar to the same film I want to write about, which is about all of those things. But they’re handled in a way that makes it feel fresh and original, like a coming-of-age film unlike any other I’ve seen before. Even the depressing, similarly-unusual “Welcome to the Dollhouse” is nothing like this film.

“Lady Bird” is the directorial debut of Greta Gerwig, who also wrote the film and has established herself as a fresh female voice in independent film while collaborating with Noah Baumbach for films such as “Frances Ha” and “Mistress America” (both of which she shares a writing credit). She is able to pull off everything in “Lady Bird” in such a way that while we’ve seen elements of the story before, what she does with them feels totally new. It’s an independent film that doesn’t fall into the typical indie traps. It’s not self-assured in how bright it is. It’s not talking down to us with its many insights. And it can be harsh while not being terribly so and funny while also being moving. Gerwig knows what she’s doing here, and you wouldn’t guess this was her first time directing.

The film is semi-autobiographical, set in the early 2000s and inspired by Gerwig’s experiences in growing up in Sacramento, California. The always-wonderful actress Saoirse Ronan portrays the young-Gerwig counterpart, Christine McPherson, who prefers to be labeled “Lady Bird” because she hates her given name and prefers a name that’s deeper. She hates life in Sacramento and wants to go somewhere less boring, and so she tries applying for colleges “out East,” even though no one, not even the guidance counselor and especially not her mother (Laurie Metcalf), sees that actually happening, as she’s not the best student.

Lady Bird has one friend, Julie (Beanie Feldstein), with whom she shares a true bond, as both of them are on the lower end of the high-school spectrum (but not the lowest end). And she has a neverending feud with her mother, who is having a hard-enough time working double-shifts as a nurse without dealing with her difficult daughter. Her father (Tracy Letts) shows more care and affection towards her, but he’s going through a tough time of his own, having lost his job, battling depression, trying to keep the family financially stable, and even applying for the same new job as his adopted son Miguel. She thinks things are going to get easier and gentler when she meets Danny (Lucas Hedges), a cute, “perfect” boy who becomes her boyfriend. But even that sweetness doesn’t last long. Then, Lady Bird finds herself breaking away from Julie, falling in with mean-girl Jenna (Odeya Rush), finding a new boyfriend, having her first sexual encounter, discovering harsh truths about herself and those around her, and finding herself on the very edge of adulthood.

I tried, but I don’t think I fully related how unique “Lady Bird” is with that basic plot, even though it sounds similar to other movies (movies like “The Edge of Seventeen,” which came out last year, come to mind when I try and describe what happens in “Lady Bird”).

I admire the editing of “Lady Bird.” It’s tightly edited at 90 minutes, despite so much happening in this year of the life of this 17-year-old girl. That’s because Gerwig knows not to give us filler. If a scene is straying for too long, it cuts immediately to the next scene. If there’s a misunderstanding occurring, we suddenly cut away to later, when the misunderstanding is being discussed realistically instead of awkwardly drawn out. When there’s a betrayal, it immediately cuts to quiet contemplation of said-betrayal before the tears come up. Then it’s on to the next situation. This is how it is throughout the entire film, and I greatly appreciated the trimming of the fat.

What helps is that every situation is handled just right, with Gerwig’s screenplay being smart enough to know what’s realistic, what’s memorable, and what’s just right for the material. Whether it’s the comedy (such as when Lady Bird and Julie are discussing masturbation while eating communion wafers), the drama (such as the brutal confrontations between daughter and mother), or the quiet, sweeter moments (such as when Lady Bird and Danny are looking at the stars and even naming one of them to call their own), all of it is as brilliant as it is straightforward.

I loved Ronan’s work in this film. She plays a character that feels so real you could reach out and touch her. And it also helps that she’s written well, to the point where I could practically see Gerwig coming out through her. But I can’t neglect to say how I loved the supporting cast, which is across-the-board terrific. Laurie Metcalf, Tracy Letts, Lucas Hedges, Beanie Feldstein, even the smaller roles such as Stephen Henderson who gets a laugh with almost every scene he’s in as a drama teacher (who gets a little too into the dramatic exercises at one point)—they’re all worthy of their own movie.

Many details of “Lady Bird” may seem familiar at first glance, but look closer when you see the film and you’ll see the power in said-details. We see this girl grow up, and even at times when she’s a little too rough, she’s still empathetic. And by the end of the film, she still has some growing up to do. The only difference is she comes to realize that. And with that said, not only do I want Gerwig to make another film (hell, another 10 films, she’s that good), but I also want a sequel to “Lady Bird.” I want to see where Lady Bird and the other characters end up.