Frances Ha

I'm at a phase in my life where I generally have little patience for stories about adults who refuse to grow up. So I had some frustration with "Frances Ha," in which Greta Gerwig plays a woman child who crashes with friends and sticks to her increasing unrealistic dream of being a dancer. But what saved "Frances Ha" for me was that I suspect Gerwig (who co-wrote the script with director Noah Baumbach) and Baumbach intend for us to be frustrated with Frances too. Life is a lot about compromise, and that's something that Frances won't accept until the film's end -- it's not all or nothing, and life can be satisfying without being a dream come true.

One of the things that did irk me about the movie was its implication that anyone who does seem to have his/her life together is either faking it, skating by on rich parents or vapid. It is actually possible to be both responsible and happy, something that movies, particularly a certain kind of indie movie (of which "Frances Ha" is an example), is reluctant to accept. But I still liked the movie despite its decision to perpetuate that message.

I can't decide whether or not I like Greta Gerwig, which makes her perfect casting for this role. Something about Frances is warm and winning, but something else is just as annoying. You understand both why people are drawn to her and turned off by her, because that's how I feel about her as an actress.

Grade: A-

Auteur filmmaker Noah Baumbach has specialized throughout his career in humorlessly reflecting on the various purgatories in our lives, or rather those lost years of stasis where the unknowns of life's supposed plans hit the unknowns within ourselves head on. His study of post-collegiate malaise in Kicking and Screaming was the genesis of his uniquely quirky vision—a blend of Whit Stillman's observationally verbose wit and Woody Allen's hilarious yet humanist portraits—that has carried on to other notable character studies he's penned, such as the dysfunctional family drama The Squid and the Whale and the mid-life crisis comedy Greenberg. It was clear in the most sincere moments of the film Greenberg that Baumbach had a creative chemistry with one of its stars Greta Gerwig which has resulted in a new collaborative effort between them to create Baumbach's latest poignantly comedic film entitled Frances Ha, an energetically funny yet undeniably relatable contemplation on the aloof mid-twenties condition. Utilizing crisp black & white cinematography capturing the naturalistic backdrops of New York City, Sacramento, and Paris, Frances Ha possesses an alluring charm mostly through Greta Gerwig's charismatic performance but also in the film's embodiment of French New Wave revivalism that allows substance to shine in even the most monotonous of human interactions. This short and sweet tale on the ambiguity of adult life highlights the changing nature of responsibility, friendship, and love with a surprisingly modest and heartfelt genuineness rarely experienced in film. Though it might have some minor similarities to Lena Dunham's HBO show "Girls" there is no denying that Frances Ha is distinctly Baumbach in character design, cinematic style, and written cleverness. Protagonist Frances proclaims that she "loves things that appear as mistakes" which on its face is the eloquent sentiment that summarizes the film's genuine depiction of mid-twenties paralysis in the face of responsibility. Frances Ha ranks highly in Noah Baumbach's worthwhile filmography because it is probably his most accessible, authentically charming, and least pretentious film all thanks to the screen writing aid and engaging performance from Greta Gerwig.

Being called "undateable" is sort of like a team player being labeled "uncoachable," not a strong recommendation. This label tags maturity-challenged Frances (Greta Gerwig) in Noah Baumbach's warm-hearted comedy Frances Ha, a film that has genuine affection for its characters. Co-written by Baumbach and Gerwig and supported by an eclectic soundtrack that includes music by French film composer Georges Delerue and the songs of David Bowie, Frances Ha (the title is explained in the film's final shot) is a film in which people talk and act like real human beings, not cardboard caricatures manipulated by a self-conscious script that "strives for reality." Though the film is full of light-hearted energy, it does not strain to be quirky or "in your face." It is clever because that's the way it is.

Shot in black and white by cinematographer Sam Levy, 27-year-old Frances lives in a Brooklyn apartment with her girl friend Sophie (Mickey Sumner). She wants to be a dancer, and apprentices for a small dance company, but seems to lack the determination to really develop her talent. Though the exact nature of their relationship is not spelled out (what you see is what you get), they are at the very least good buddies who are tight. Frances says her relationship with Sophie is "like a lesbian couple that doesn't have sex anymore," but Sophie is not quite as attached and tells Frances that she has decided to move in with her upscale boyfriend Patch (Patrick Heusinger).

Refreshingly however, the story is not about relationships being the necessary ingredient of a woman's self-esteem, but simply one component of an internal growth process. Frances goes out with Lev (Adam Driver), another under-achieving New Yorker, but her economic needs trump her physical ones and she moves in with Lev and his roommate Benji (Michael Zegen) on a strictly platonic basis to save on the rent, although Benji develops a real connection with her (which Frances is blind to). She stumbles through relationships, not making a terrific impression. One woman tells her in talking about her friend, "You look a lot older, but you seem far less mature." Frances does not have the kind of job prospects that she alludes to with her friends and her overall veracity is questionable, but she makes up for it with tons of charm. She actually makes some stabs at shaking things up, going home to Sacramento to visit her parents (Gordon and Christine Gerwig, her real parents), impulsively flying to Paris for a weekend to prove to a friend that she can, and, upon returning after a joyless weekend, taking a job as a "drink pourer" at Vassar where she had gone to school. Unfortunately, the more things change, the more they stay the same.

Although Frances Ha is about young New Yorkers living on the margins, it is not and does not aspire to be a commentary on the current economic situation or the plight of young people. The film is about talented folks who have not quite gotten it together and whose level of responsibility lags somewhere below the norm. The characters have their flaws and are not always self aware, but Baumbach recognizes that the process of growth does not happen suddenly and refuses to judge his characters, or make snide commentaries about New Yorkers.

Frances Ha does not rely on formula or relationship clichés to make its points, but only on the performances to bring the characters to life. Baumbach and Gerwig take us on a wild ride without any clear signposts, yet the trip is poignant and even beautiful and we can joyously sense the light around the next turn. Unlike the angry, unpleasant Roger in Baumbach's previous film Greenberg, the more you hang around Frances (Greta Gerwig), the more you grow to like her insanely. Though Frances may be undateable, the film is unmissable.

Frances Ha is a very good film. And It's almost indisputable that Frances Ha resembles Woody Allen oldest works. The satire against the so-called intellectuals, the satire of a - perhaps ridicule aspect of society, that is the obsession with organization and patronizing, and the fact that the character - the protagonist - is an allegory, each one of these aspects are present in Frances Ha. Of course, there is some originality on here. The black and white choice, the occasional 80s beat which pops out of nowhere and ends fitting perfectly the scene, the great acting by Greta Gerwig - all of these are aspects which makes Frances Ha an unique film. And the dialogs are nothing like in Woody's films - sure about that. There is some surreal dark- humor on them, and adds to the uniqueness of the film in general. Overall, very well written, acted and directed.

Certainly recommended. 8.5/10

This movie is a sweet piece of art. Brilliant acting (Greta Gerwig is so into the character of Frances), excellent rhythm due to the fine/so accurate montage and very gentle touch of houmor at the right amount. The black and white gives to the whole movie a tone of shade which gives a nostalgic feeling. It will make you laugh, it will make you cry but above all it will bring you to the position to question your own motivations and choices in life and if fighting for your own goals is enough to finally make ends meet and come to balance with yourself. I really reccomend this movie and i'm happy that i discovered it.