Frances Ha, 2012.
Directed by Noah Baumbach.
Starring Greta Gerwig, Mickey Sumner, Adam Driver, Michael Zegen, Charlotte d’Amboise and Grace Gummer.
SYNOPSIS:
A story that follows a New York woman (who doesn’t really have an apartment), apprentices for a dance company (though she’s not really a dancer), and throws herself headlong into her dreams, even as their possible reality dwindles.
We open on a New York street, with two friends discussing something ‘fun’ they could do. One is wholly against the idea, the other is bouncing up and down like a schoolgirl, excited by the prospect. Surrounding them, New York City, in stark, perfect black-and-white.
Immediately, we are transported into the world of ‘un-dateable’ 20-something Frances (Greta Gerwig), who like most 20-somethings approaching midlife, is trying to make her voice heard in the bustling city. But despite her upbeat, infectious energy and personality, Frances is struggling to figure herself out in every sense. Worse still, her best friend and roommate Sophie (Mickey Sumner) starts to get all her stars aligned: new job, new apartment, new beau, pretty much all at the same time, leaving Frances to fend for herself. So, she begins a long search for her place, literally, as she tumbles hopelessly through her ‘midlife’ midlife crisis, one klutzy, David-Bowie-soundtracked step at a time.
Co-written by director Noah Baumbach and Gerwig, Frances Ha is this year’s most infectious and delightful film. It’s one of those hard-to-hate films – similar to say Garden State or Lost in Translation from recent years – that while it may not be what you were expecting going into it, you come out wondering why you didn’t see it sooner.
Baumbach’s gentle, wistful direction adds whimsy and lightness of foot to proceedings, and shot in sumptuous black and white, it’s a beautiful looking film. The decision to shoot in black and while will no doubt bring around some Woody Allen / Manhattan discussion, but while the similarities are true, the use of black and white is a perfect reflection of Frances’ life. Her ordinary, sporadically enjoyable life isn’t as black and white as she would perhaps hope, but Frances’ spirit and ever-optimist outlook brings all the colour that she will ever need. In addition, Baumbach and Gerwig’s use of her newest address add a chapter feel to the film, which breaks up the mini-stories superbly.
But for all the artistic merits of the film, it would be nothing without Greta Gerwig’s effervescent performance. After her turn in the criminally underrated (and underseen) Greenburg, Frances Ha will be the film that propels Gerwig into the mainstream. It’s the kind of award-worthy performance that will hopefully be seen by as many as possible, given the indie lo-key release. As the ever-optimistic Frances, Gerwig’s irresistible energy and charming goofiness are a joy throughout, from the film’s opening scene until the final frame when the film’s title origins are revealed.
An absolute joy from beginning to end, Frances Ha is one of the year’s shining lights, and takes it place alongside some of the best we have seen so far. Anchored by a wonderful Greta Gerwig performance, as well as all that sumptuous black-and-white, Noah Baumbach’s film is absolute enjoyment.
Flickering Myth Rating: Film ★ ★ ★ ★ ★/ Movie ★ ★ ★ ★ ★
Scott Davis
