Director: Noah Baumbach
By Alex Watson
Once again director Noah Baumbach has created an original and sharp piece of work that is a return to the great screwball comedies of old. Focusing mainly on two women who are the opposite of one another, a pair of fine lead performances set the scene for a believable yet zany ride. Baumbach has recently been on a fine run of form with his comedies While We're Young and Francis Ha, his new picture Mistress America continues this great run.
While studying in New York, freshman student Tracy (Lola Kirke) meets with her soon-to-be step sister Brooke (Greta Gerwig). Soon the pair become inseparable and Tracy seems to feed off Brooke endless positive energy. When her plans to open a popular restaurant, Brooke has to borrow money elsewhere. This will lead to a road trip to Greenwich, Connecticut where all things will come crashing together.
Mistress America's primary function is the study of the relationship between Brooke and Tracy. Living in the Big Apple, Tracy is quickly drowning and latches on to the first guy she meets. She has intent to join a literary society but her writing doesn't seem to make the grade. When Brooke arrives in her life it at first opens up a whole new world for her. Brooke seems to thrive on life itself and she is a woman with endless delusions of making her mark on this world. The movie's first half centers on the conversations they have. Unveiling a unique wit that is hard to beat, this meeting of opposites is one that becomes memorable quickly.
Slowly Brooke becomes the focal point of Tracy's new short story she is writing and Brooke tries to go ahead with a restaurant-community centre. While Brooke tears through scenes with a boundless energy, there is also a highly self-absorbed feel about the two leads. One scene Brooke finds herself confronted by an old high school nemesis for mistreating her, to which she merely shrugs it off as nothing. Baumbach also smartly asks just what exactly the pair is looking to get of one another? While Tracy has become almost dependent on her future sisters company she also seems to view Brooke more as a material than a true friend.
The third act of Mistress America plays out almost like a live action stage play as our leads travel to Greenwich, Connecticut. Here Brooke is intent on borrowing money from her old nemesis and her former ex boyfriend. Events in this section are staged perfectly and Baumbach has any number of elements to keep things interesting. A pregnant friend who is always waiting to picked up and a suspicious neighbour are among the quirky characters on display. Wisely although there are confrontations galore, Baumbach wisely keeps a lid on things and it never once descends into a shouting contest. In the midst of the bottled up emotions there are winds of change hanging on air and after this visit, friendships will become changed.
Baumbach's creative and romantic partner, Greta Gerwig shows just why this guy should cast her in everything. Showing a great comedic touch along with a highly vulnerable feel, Gerwig is very much the movies ace in the deck. Registering almost immediately, she is a tour de force throughout playing both hipster and wannabe business mogul. Gerwig has the kind of moxie that Academy voters often love. Lola Kirke in a more silent turn is fine in her own right and provides the movie with a more passive feel. Underneath her almost shy and retiring appearance beats the heart of a real creative thinker. Kirke is very much the voice of reason of the two leads.
Mistress America is a movie that hopefully will a least one name with a nomination this awards season. Ignited by the fine lead turns of Gerwig and Kirke, Baumbach is fast becoming the new indie film king of his generation.
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