Noah Baumbach is sometimes a hit or miss with me. When he misses? It's not a huge miss, but it is a miss. I wasn't a fan of his previous film, and collaboration with Greta Gerwig, Greenberg, which I felt had characters that weren't developed enough and that were too forced in terms of wanting to be likable, but seeming "real" and "hurt." However, when he hits, he hits hard. There wasn't a character in Kicking and Screaming or Highball whom you didn't already know someone like, The Squid and the Whale hit way too close to home, and Margot at the Wedding wasn't a film that you easily forgot; however, his style is not for everyone. If you're not a fan of dark" don't know whether to laugh," humor, and/or unlikable characters, than you probably wouldn't like his other films; notice I wrote other films. Of all his films, Frances Ha is probably his most lighthearted (I think Greta Gerwig's collaboration is to credit for that), but even still it has it's "real" world problems moments. Unlike his other films, here it actually seems to provide an encouraging, or at least, honest (as opposed to his normal brutal honesty) approach that material like Frances Ha deserves. Too put it simply, Frances Ha is a strong hit for Noah's career, and is a film that defines an age group and period in most everyone's lives.
I almost hate to write this, but Frances Ha seems to be part of (or marketed as) this new trend involving young adults trying to adapt to life, but also providing some quirkiness to the situations and characters. I think this film is more relatable and while it's honesty is kind of sad in that "the truth hurts" way, because it involves reading between the lines, it's honesty is more of a tender gentleness that, like in our lives, we just have to accept. It doesn't rely on the typical hipster dialogue that so many of independent films think they need in order to stand out, but feels more like conversations that you've listened to and/or been a part of yourself. Never do the conversations feel unrealistic, and they never seem to go out for "shock value." The entire film isn't thankfully centered on sexual mishaps and social misfires, but more of an adaptation to the world around you in the growing up process.
The plot progression is a lot like Frances herself, not really directed, kind of planned but mostly random, and, while it walks a fine line in some parts, it never entirely ever burns itself out on a particular location or supporting characters. Granted, toward the last act this technique becomes a little too forced and hard for the audience to believe, but the material is still right and seems to have justification for where it takes the story. I do, however, wonder if the spontaneous use of alternating locations is done for comedic purposes or to build dramatic tension? While it does further progress Frances' sadness with adapting to her life and where it's going, many times certain scenes, while overall good scenes, feel a little bit like missed opportunities to expand the characters more, or at least, not strictly confide them to awkward conversation.
It's impossible not to love, or at least admire, Greta Gerwig's portrayal of Frances; I think it's driven enough to where she never really gets on your nerves, if she does, it's often understandable. She does give Frances a bit of a naive sense, but never to a point to where you think she's being childish. You don't entirely question her decisions, and you always empathize with her, if only because we've all been in her shoes. Frances could have easily been this wannabe hipster or desperately forced "free spirit," but she's really not. Sure, she has her moments, but at that age, trying to maybe cling to whatever shred of youth you have left? Why not? Most admirable, however, is Gerwig's quiet restraint that Frances has. Frances could have been this obnoxious, erratic free spirit, but in the real world, most people don't say how they feel, and Gerwig captures that perfectly. Her half widen smiles, the look of hesitation in her eyes, and the forced laughter all the more hits close to home with the viewers.
The element that really won me over with the film is its honesty. I think, whether we want to admit it or not, it defines a certain age group, and it maybe the majority of the world. What happens when you're suddenly having to grow up? Where do you go from when you realize that your dreams most likely will never come true? What happens when being alone seems all to plausible? You settle. It captures this perfectly because it never makes it seem like it's a bad thing, but obviously, not entirely showing it's a good thing. It is what it is - you do what you have to do. The film is optimistic about that, and furthermore perfectly exemplifies this with the final shot of the film, guaranteed to put a smile on the face of anyone watching, and definitely guaranteed to trigger a "Oh so that's why it's called ," moment.
Overall, Frances Ha is certainly a highlight in not only both Baumbach's and Gerwig's career, but also a strong highlight for this year. I imagine the film will be boring for some, and tiresome for others, for, like I said, it really is in one's best interest to read between the lines to better understand and take in the film. Noah Baumbach claims to be reinventing himself with this film, while I'm not really sure what he means by that (the film closely resembles the likes of his early work, in my opinion), but if his next film is as enchanting as Frances Ha? Let's just see what ya' got.
I almost hate to write this, but Frances Ha seems to be part of (or marketed as) this new trend involving young adults trying to adapt to life, but also providing some quirkiness to the situations and characters. I think this film is more relatable and while it's honesty is kind of sad in that "the truth hurts" way, because it involves reading between the lines, it's honesty is more of a tender gentleness that, like in our lives, we just have to accept. It doesn't rely on the typical hipster dialogue that so many of independent films think they need in order to stand out, but feels more like conversations that you've listened to and/or been a part of yourself. Never do the conversations feel unrealistic, and they never seem to go out for "shock value." The entire film isn't thankfully centered on sexual mishaps and social misfires, but more of an adaptation to the world around you in the growing up process.
The plot progression is a lot like Frances herself, not really directed, kind of planned but mostly random, and, while it walks a fine line in some parts, it never entirely ever burns itself out on a particular location or supporting characters. Granted, toward the last act this technique becomes a little too forced and hard for the audience to believe, but the material is still right and seems to have justification for where it takes the story. I do, however, wonder if the spontaneous use of alternating locations is done for comedic purposes or to build dramatic tension? While it does further progress Frances' sadness with adapting to her life and where it's going, many times certain scenes, while overall good scenes, feel a little bit like missed opportunities to expand the characters more, or at least, not strictly confide them to awkward conversation.
It's impossible not to love, or at least admire, Greta Gerwig's portrayal of Frances; I think it's driven enough to where she never really gets on your nerves, if she does, it's often understandable. She does give Frances a bit of a naive sense, but never to a point to where you think she's being childish. You don't entirely question her decisions, and you always empathize with her, if only because we've all been in her shoes. Frances could have easily been this wannabe hipster or desperately forced "free spirit," but she's really not. Sure, she has her moments, but at that age, trying to maybe cling to whatever shred of youth you have left? Why not? Most admirable, however, is Gerwig's quiet restraint that Frances has. Frances could have been this obnoxious, erratic free spirit, but in the real world, most people don't say how they feel, and Gerwig captures that perfectly. Her half widen smiles, the look of hesitation in her eyes, and the forced laughter all the more hits close to home with the viewers.
The element that really won me over with the film is its honesty. I think, whether we want to admit it or not, it defines a certain age group, and it maybe the majority of the world. What happens when you're suddenly having to grow up? Where do you go from when you realize that your dreams most likely will never come true? What happens when being alone seems all to plausible? You settle. It captures this perfectly because it never makes it seem like it's a bad thing, but obviously, not entirely showing it's a good thing. It is what it is - you do what you have to do. The film is optimistic about that, and furthermore perfectly exemplifies this with the final shot of the film, guaranteed to put a smile on the face of anyone watching, and definitely guaranteed to trigger a "Oh so that's why it's called ," moment.
Overall, Frances Ha is certainly a highlight in not only both Baumbach's and Gerwig's career, but also a strong highlight for this year. I imagine the film will be boring for some, and tiresome for others, for, like I said, it really is in one's best interest to read between the lines to better understand and take in the film. Noah Baumbach claims to be reinventing himself with this film, while I'm not really sure what he means by that (the film closely resembles the likes of his early work, in my opinion), but if his next film is as enchanting as Frances Ha? Let's just see what ya' got.