This film was recommended by major domestic film public accounts, and was dubbed "the film with the highest score in the history of Rotten Tomatoes". Frankly speaking, after watching it for the first time, it will feel a bit overrated, because of its neatness and rules, and its degree of completion. It is very high, but because of this, the viewing process cannot bring you too many surprises and surprises. At the same time, it is a movie worthy of repeated reading and chewing. Its script is very prominent, full of details and contextual references, and the transformation of character relationships and emotions is always "cause and effect". "Miss Bird" is undoubtedly a coming-of-age movie. It borrows the coat of comedy and reproduces to us the confusion that everyone encounters in adolescence, about growth and loss, about betrayal and forgiveness , on escape and conversion. The protagonist of the film is Lady Bird, played by Hollywood's high-profile new-generation actor Saoirse Ronan. Of course it was the name she gave herself, her real name was regular Christine. Like Xiaoniao, the heroine in the film is stubborn and stubborn, longing for freedom, longing to escape from her hometown, her family, or more precisely, her nagging mother. She was born and raised in Sacramento, the capital of California. Although it is the capital, its popularity and prosperity are far less than that of Los Angeles and San Francisco. As the film's opening credits quote, "The man who talks about California hedonism has never spent Christmas in Sacramento." Taking into account the heroine's not so wealthy family background - her mother worked two shifts in a mental hospital and her father just lost her job - Miss Bird is, in a sense, an American version of a small-town youth. In the last year of middle school, in this small town, Miss Bird will experience a series of events about family, love and friendship, and complete the real growth. Family love from beginning to end In the film, the most important character relationship is always the mother-daughter relationship, which is so typical and real that we can always find our place in certain scenes and dialogues. From the overhead shot at the beginning of the film where the mother and daughter sleep face-to-face on the bed, to the end when the daughter calls home, mother and family are always the main focus of the story. The image of the mother in the film is full and real. She has a strong personality and is full of nagging and complaining about her daughter, but at the same time she cares more about her daughter than anyone else, but she is not good at expressing love in words. In the middle of the film, two paragraphs where the mother takes her daughter to buy clothes are very cleverly designed. On the one hand, of course, it corresponds to the two boyfriends that the daughter is dating. On the other hand, it is also a vivid presentation of the mother-daughter relationship. People who have watched the film Two of those conversations will surely be remembered. In the first paragraph, the mother asked her daughter if she was tired. When the daughter said she was not tired, the mother said that it was because "you drag the floor when you walk", and the daughter asked why she didn't directly say "lift your feet and walk". And in the second paragraph, the daughter asks the mother "Do you like me", the mother replies "I want you to be the best version of yourself", and then the daughter says "What if this is already the best version of me". The character of the mother and daughter and their relationship can be seen from this. In fact, although the mother has a strong personality, the clothes she chooses at the end are still what her daughter likes, not what she likes, just like her daughter chooses college in the end.
It was also the daughter's choice of college that "destroyed" the mother, not because of her choice. In fact, in the end, the mother would respect her daughter's choice just like choosing clothes, but because she chose to tell everyone, but The only thing she didn't tell her was, as her father said, "She doesn't know how to help you, and it's frustrating for her". The tearful scene in the back of the mother driving her daughter off by herself after taking her daughter to the airport was enough for Laurie Metcalf Metcalf) won Best Supporting Actress, and this is in tune with the mother-daughter quarrel in the car at the beginning of the film, when the mother picks up her daughter and sends her away. In essence, Miss Bird was not her mother when she was young, or, perhaps, her mother was what she grew up to be. Like her mother, Miss Bird also has a strong personality, loves face, dares to love and hate, and at the same time is not good at words in the face of family affection. In the middle of the film, she was reprimanded by her mother because she was suspended from school. Her mother complained about the hard work of raising her. At this time, the stubborn Miss Bird said, "Give me a number, and I will pay you back when I grow up and earn money!" The dialogue is so intimate and familiar, it's like what each of us would say to our parents at some rebellious moment in adolescence, and in this dialogue, the strong personalities of mother and daughter collide once again. But like all the quarrels with parents in adolescence, the conflict is destined to be temporary. When she was sad because of her boyfriend's deception, Miss Bird returned to her mother's arms and cried like a child. The mother-daughter relationship got a movie at that moment. The first real reconciliation. The mother-daughter relationship is once again put to the test because of the deception and concealment of college choices. The mother stopped talking, and the daughter wanted to apologize and make up for it, but she never waited for the mother's apparent concession and forgiveness. But how could the mother keep blaming her daughter? When the mother drove back to the airport and ran to the security checkpoint quickly, when she saw that her daughter had left, she slowed down and her face was full of tears. At that moment, she had come back to reconcile with her daughter, and she no longer blamed her. It is a little later that a daughter truly understands her mother and then comes to reconciliation with her mother and her past self. The father's letter gave the daughter her first glimpse of her mother's verbal (albeit written) expression of love for her that she had been expecting from her mother. When she fell into the hospital because she was drunk, she saw the Asian child and his mother. At that moment, alone, she must have thought of her mother. At the end of the film, as she walks out of the church, she not only begins to try to understand the religion she once sneered at, but she also really understands her mother, about her giving, about the love she gives. She recalled her first drive when the footage began to show a montage of Sacramento views, including a clip of her daughter and mother driving separately. In that moment, for the first and only time, she said to her mother, "I love you." Through the reconciliation with her mother, she also completed the reconciliation with herself, she is no longer Miss Bird when she was young, she is Christine, and she is grateful to her parents for giving her a good name; she is no longer Hate Sacramento, the city where she was born and raised, when in fact she may have always loved the city because "love and attention are the same thing." Endless love is different from the familial clues that run through. The appearance and end of the love line mainly occurs in the middle part of the film, and ends with the inexorability of the two love relationships. Although this may indeed seem like the end of many adolescent romances, the film is too stereotyped and stereotyped in the laying out and unfolding of the emotional line. The portrayal of male characters is relatively thin and flat, and the transitions and turns of some plots are also slightly obvious. Deliberate and blunt. Among them, what makes people feel more abrupt is the reveal of the true sexuality of Miss Bird's first love boyfriend Danny (Lucas Hedges, Lucas Hedges). On the basis of the plot, the film sets up a dialogue section in which the girl said "you can touch my chest" and the boy rejected it on the grounds of respect, which provided some clues (although reluctantly) for Danny to be found to like boys later (although reluctantly), but this is also There are only clues, so this turn of the plot seems to me a little deliberate. Miss Bird's second boyfriend is the band's bassist Kyle, played by Timothée Chalamet. Like the popular stereotype, the band is really a scumbag. The first time Miss Bird carefully guarded and gave ("We have each other's flowers"), but it was not the first time for Kyle, and he couldn't even remember whether the number of girls he had slept with was six. As female director Greta Gerwig Gerwig)'s debut film, the film uses Miss Bird as a slice, from the perspective of women, to examine and observe the growth of women in adolescence, the whole film does allow us to see the whole process of a woman's self-perception transformation very well. But on the other hand, the problems brought about by the prominence of women's viewpoints are the weakness of male characters and the disadvantages of functionalization. Compared with Miss Bird's complete character arc, whether it is Danny or Kyle, the character setting is always single, they appear because of Miss Bird's growth needs, they appear because of the needs of the plot, but we are in the middle I can't see their growth and change. A typical example is the scene where Danny greets Miss Bird's family after the performance. Danny's appearance is only to expose Miss Bird's lie about college choice, and then promote the further development of the mother-daughter relationship. Arrangements like this are indeed a victory for the screenwriter, but in a sense it is a failure for the characters. It functionalizes and typifies a character that should have been shaped more fully, and provides a scene that should break prejudice and stereotypes. is just another confirmation of prejudice and stereotypes. Therefore, in my opinion, this is a film that successfully describes the growth of women, but it is also a film that describes how men are not aggressive. From this dimension, I always have reservations about this film. If you want to rank the quality of the three clues of family, love and friendship, the friendship line is second only to the family line, although it does not occupy a large space. The fat girl in the film (Beanie Feldstein) and Miss Bird's friendship section struck me far more than the love line, because it was more truthful and detailed than the latter. One of the things that moved me the most was the abrupt end of friendship and the recovery of friendship. In order to pursue Kyle, Miss Bird approached his friend Jenna, she refused the lunch given by the fat girl, gave up the opportunity to audition for the troupe, and also played a prank on the nun's car. There is no doubt that this is a betrayal of friendship, Miss Bird betrayed the fat girl in pursuit of the love she wanted, and turned to her once disdainful Jenna. But the difference between her and Jenna's social class is also doomed that they can't be friends. In order to make Jenna look up to her, she made up lies, which is also a betrayal of herself. And when the lie is exposed, this fragile friendship begins to crumble, and what really destroys it is Kyle's deception and her return to herself after she realizes the truth. In the end, in the car, differences in musical tastes actually reflect differences in values, and when Miss Bird leaves Kyle for Fat Girl's house, her once-best friend generously forgives her for betraying her friendship. In a sense, the fat girl is a personification of home for Miss Bird. In order to pursue unrealistic dreams or fantasies, in order to satisfy her own vanity, Miss Bird once chose to run away and betray, but When she recognizes the reality and grows at the level of self-awareness, she finally chooses the direction of return and truth. The reason why Fat Girl's characters are likable is that her characters are full and three-dimensional, which in turn highlights the thinness of Danny and Kyle's characters. In the film, the fat girl's parents divorced, and her mother made a new boyfriend, but in her life, the role of her father was still absent; at the same time, she was also troubled by her figure, so much so that she flipped through magazines in the supermarket At the time, she couldn't help but say "Why can't I grow like that". So her math teacher Bruno in the film became her imaginary emotional sustenance, of course, because of her excellent math performance, but more importantly, because of the absence of male characters, she had a sense of dependence and sustenance on Bruno , she imagines him as her father, or even her lover, which explains why, after the Thanksgiving night music performance, her vision is focused on Bruno's wife, who is substituting herself in that role, Or compare with it. It is precisely because of this setting that Miss Bird's betrayal of friendship seems more cruel, and it also makes the loss and recovery of friendship seem precious, because to the poor fat girl, Miss Bird's friendship is her The only emotion to rely on. In fact, according to Lacan's mirror image theory, Bruno's wife is exactly the imagination of the fat girl's ideal self. Every time the fat girl looks at her and stares at her, it is caused by her inferiority complex, and she is the perfect self that she cannot achieve. In the whole film, there are several groups of such mirror correspondence. Such as Miss Bird's father and brother. In the film, the father and son are applying for the same position. In a front and back shot, the father stepped forward, sorted out his brother's clothes, and encouraged him to say that you will get the job. Of course, as analyzed above, Miss Bird and her mother are the most typical examples of this mirror relationship. And if we are watching this movie in front of the big screen, the screen is not a mirror for us. We project ourselves on Miss Bird, and by recognizing her youth, in her, more or less , we will all find our shadow.
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