Greta Gerwig’s charming solo directorial debut

By V.v.B.| CHICAGO

“ANYBODY who talks about California hedonism has never spent a Christmas in Sacramento.” The quote from Joan Didion (a writer who, like Greta Gerwig, was born in California’s capital) rather sets the tone of “Lady Bird”. It is a coming-of-age story, following Christine (Saoirse Ronan), a teenager longing to get away from Sacramento, which she calls the “Midwest of California”. She dreams instead of college on the east coast, to have a name different from the one her parents picked for her and to live in a big blue house with white shutters on the “right” side of the train tracks—rather than the modest dwellings her hard-up parents are able to afford.

The semi-autobiographical “Lady Bird” is Ms Gerwig’s debut as writer and solo director, but she shows the wisdom and empathy of an experienced film-maker. Each character is flawed and likable, particularly Lady Bird (Ms Ronan)—a moody, pimply teenager, who is quick-witted, mercurial and observant. Marion, her crushingly forthright mother, never shies away from an argument, contrasting with Larry, her depressed, gentle father. A host of other characters, including kindly nuns and fathers at the Catholic high school, two unsuitable boyfriends and the podgy, talented Julie, who is Lady Bird’s best friend, round out the cast.

The film centres on the tempestuous relationship between Lady Bird and Marion. In the midst of applying for college, Lady Bird is dreaming of a fancy university on the other side of the country. Marion is already stretching family finances to send her daughter to a private high school and is adamant that in-state college is all they can afford. They bicker all the time about quotidian chores, such as tidying the bedroom or scrambling eggs for breakfast, but in these mundane exchanges deeper truths are revealed. “Didn’t you ever go to sleep without putting all your clothes away perfectly? Like even once? And don’t you wish your mom hadn’t gotten angry?” asks Lady Bird. “My mother was an abusive alcoholic,” replies Marion, turning around only briefly.

Lady Bird falls in love for the first time, has sex for the first time and abandons her best friend (briefly) for a richer, more glamorous girl. She cheats on a maths test, shop lifts and pretends to live in the big, blue house of her dreams. She is a typical recalcitrant teenager, albeit one with a way with words and a knack for the apposite repartee. When asked for her given name, she replies “Lady Bird”, and explains “it was given by myself to myself.”

Ms Gerwig writes beautifully, and her script shines in exchanges between her complex female characters. When mother and daughter discuss Larry, who has lost his job, Marion says: “Money isn’t life’s report card. Being successful doesn’t mean that you’re happy”. Lady Bird responds: “But he’s not happy”. When the teenager asks her mother in one of their fights whether she even likes her, Marion replies: “I want you to be the very best version of yourself”. “But what if this is the best version?” Lady Bird responds.

Behind her mother’s back, Lady Bird asks her kindly dad to help with the financial aid applications for far-flung colleges. When Marion finds out, she is deeply upset. This time the rift between mother and daughter seems deeper and more permanent. But they reconcile from afar in a couple of subtle, lovely scenes. Christine (no longer Lady Bird) calls her mother, thanks her and says how much she enjoyed driving through Sacramento after passing her driving test.

So far, critics have enthusiastically received Ms Gerwig’s film. The New York Times called it “big-screen perfection”. The New Yorker said it was “exquisite” and the Washington Post “a triumph of style, sensibility and spirit”. It is currently the most-reviewed film on Rotten Tomatoes, an aggregator site, to remain at 100% “fresh”. This reviewer is compelled to contribute another positive appraisal. “Lady Bird” is enchanting.