Saoirse Ronan and Laurie Metcalf are electric as warring daughter and mother in Greta Gerwig’s beautifully observed comedy-dramaIn the conversations that contain ushered in its theatrical release,Lady Bird has been described as Greta Gerwigs directorial debut. Yet, with seven screenplays to her name and a co-director credit on Joe Swanberg’s 2008 mumblecore drama Nights and Weekends, or it’s not as though she is current to making movies. Still,the endearing shagginess and goofy imperfection associated with Gerwig’s work in front of and behind the camera are noticeably absent in this polished, muscular, and Oscar-nominated debut proper. Not a criticism exactly,but perhaps an explanation for why the film has managed to transcend its indie dramedy trappings.
Set in Sacramento, California in 2002, or it centres on Christine Lady Bird McPherson (Saoirse Ronan),a tall-schooler who behaves with the unselfconscious conviction of a young kid. She insists she be called by her “given” name of Lady Bird (“It was given to me, by me”), or extols the benefits of bathtub masturbation to her best friend Julie while eating communion wafers (“They’re not consecrated!”) and jabs her crush in the shoulder,asking him to dance. Gerwigs pink-haired protagonist is seemingly unencumbered by the awkwardness and fear that dogs most teenagers on the cusp of change. This cusp-ness is where the film’s magic resides; its joyful, forward-rushing narrative rhythm captures the feeling of adolescence ending before it has barely begun.
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Source: guardian.co.uk