Kristen McPherson (Saoirse Ronan) was raised under the stern eyes of her conservative Catholic mother, Marion (Laurie Metcalf). Kristen is bored with life in Sacramento and dreams of attending college in a much more intellectual and artistic area of the East Coast. The young woman, whom everyone calls Lady Bird, spends time with her best friend Julie (Penny Feldstein) and also meets two young men she feels attracted to. The wealthy Danny (Lucas Hedges) and the boisterous Kyle (Timothée Chalamet).
As an American journalist of his time Lady Bird Presumably, someone here talked about the next big hit. A movie that shakes you awake because it’s telling the truth and often uncomfortable. Perhaps it would be impudent to claim something like this, and yet one often feels superior to the United States, because structural discrimination, outdated viewpoints and systemic dealing, as well as an incredibly wide range of patriotism and violation of international rights belong to Americans like the bureaucracy in Germany. While musicians like Pitbull or Jason Derulo actually break taboos by constantly reporting excessive nights with women and alcohol in wary America, this is no longer a taboo by German and other standards within Europe. This fact applies here as well Lady Bird to. The big problem the movie faces is actually one that cannot be applied to the living environment of many people, as the movie talks about the problems of small town America for a family trying to stay afloat. It is actually a deconstruction of the American dream, in which it is revealed that only those with money stand a chance. And so Kristen’s family is trying to make a lot of things possible for their daughter, but it’s not possible because the money simply isn’t there.
If capitalism is already understood as a hostile force – and this is not clear – then its embodiment is manipulative, because it pits these people against each other who in reality must stand together. This may sound pathetic, but this movie also shows how conflicts arise when the financial future and constant comparisons with fellow human beings lead to the collective family becoming unhappy. At the same time, the film is again completely honest, because it looks for its struggles in parties that already have the same ideas. Of course, this is in a different form, and so Kristen “Lady Bird” Macpherson has to explain to her mother why she conflicts with her lifestyle. But this discussion does not happen because neither of the two characters understand exactly what the real problem is. Kristen tells about dreams and the desire to live, while she tells Marion about keeping and sticking to his belongings. Of course there is the fear of losing each other. However, it is precisely responsibility that poses the biggest problem for both characters here, because neither of them imagined their lives to be like this, but Marion still wants to protect their daughter.
But Lady Bird dreams of art and honesty. She dreams of realizing oneself and all the things that make up life. About love, freedom, meaning, knowledge, and informal existence. This is why she tries to apply to universities to find her own meaning. Anyway, she didn’t seem to fit in the conservative Sacramento at all when she interrupted a lecture on the topic of abortion or even supposedly embarrassed the Catholic high school she goes to. It’s amazing how honest Greta Gerwig can be in naming the problems of liberal America. It’s certainly no surprise that right-wing conservative spirits don’t have much to look for here. But at the same time, exposing the Democratic Party’s values as insufficient and falsely manipulated is very brave. Of course, Lady Bird’s mental state is a bit at odds with that as well, as the movie also emphasizes her free spirit with the lethargic Sacramento fatigue. The movie can lose steam quickly if that makes the plot core, but the fact that the movie knows how to cleverly write its main character doesn’t mean that but rather that it makes you develop an understanding of them and their work as well seems to make sense.
Of course, the excerpts from Lady Bird’s life during adolescence seem incredibly stereotypical at first. For example, when it comes to basic conflicts, sexual experiences, as well as rebellious comments. On the other hand, the character doesn’t want to be pressured into more stigmata and so they go their own way, which is then quite original and in the end doesn’t undergo a proper alteration either. It turns out that Lady Bird’s optics is not only subject to stereotypical character graphics, but is much more to do with her ideologies. The stigma that has gained in the presence of professed hipsters and often wanders the left spectrum, without living those thoughts, is these kinds of people who visually live out their supposed rebellious attitude, manifest themselves one night or another and are still essentially subject to modification. This is shown here particularly impressively at the half-rudder of Sir Bird. But the main character doesn’t want to be forced into something he isn’t and the film’s greatest strength is his inability to do so.
In addition, it is clear that treating a Catholic university as a place to strengthen one’s character is simple. It is not desirable here to ask real questions and criticism of ancient structures, which also have a great charm of humor. The characters appear revealing when they meet the left-wing intellectual nature of Lady Bird. The working class, if you can call it that, is making their decision against their own interests and this seems to be one of the reasons why they do not do well in Gerwig’s work. However, he also managed to leave this decline not merely as arrogance, but as a real problem emphasized by the legislative period at the end of the last decade, especially in modern America.
As just a movie coming of age Lady Bird not inspired. The formative moments of adolescence are too cliched here. Then again, the movie is incredibly honest and smart in that it doesn’t underestimate the importance of solutions to individual problems. The drawing of the so-called lower vision is presented here in a radical and direct way, while dreams conflict with responsibility. Laurie Metcalf and Sawyers Ronan star in their roles.