Frances runs a lot during the course of Frances Ha. She leaves a restaurant and runs to the ATM, she runs to work, she runs to her parents in Sacramento, she runs back to New York, she runs to Paris, she runs from New York, she runs back to her old college, and she returns again to New York. And until the end, she doesn’t get anywhere. She’s just running in place. She is hapless and feckless and lonely and dangerously stuck in the past. And she is endearingly quirky.
Frances is played by Greta Gerwig who also co-wrote the screenplay with director Noah Baumbach. (There is a follow-up collaboration already in post-production, tentatively titled Untitled Public School Project). She–like countless others–have come to New York, because it’s the world’s biggest stage and she is a dancer. However, we are to infer, not a very good one.
So we follow her trajectory as she breaks up with her boyfriend, as her roommate leaves to move in with her mate, as she “crashes” in various friends’ apartments, and as she is “fired” from her job. What is a poor girl to do? Certainly, she makes some bad decisions–an impulsive trip to Paris on her credit card and a friendship shattering tantrum at a restaurant–but ultimately we know she is decent and hard-working, and we hope that things will pan out for her.
I had seen the trailer for Frances Ha a few months back, but hadn’t put it on my “must see” list. Then I saw an article in one of the free newspapers that ran with this headline:
“Woody Allen Call Your Lawyers…Someone has Stolen your Style.”
So of course that sent me to the theaters. (I didn’t even read the article, just the headline.) The “stolen style” is the cinematography. It is filmed in black-and-white, and there are scenes that very much have a “Woody Allen” feel: New York street scenes, a shot going down into the subway, a scene around a table in an up-scale apartment, a family Christmas dinner. These all very much LOOK like a Woody Allen film.
However, the similarity stops with the dialog. What, I assume, is meant to be witty and quirky and insightful is not. It simply does not come off.
Instead, we follow Frances (and her friend Sophie, played by Mickie Sumner) as she stumbles forward, sometimes awkwardly and sometimes ineptly. And we want to root for her except that we often lose interest in her. No doubt that her travails are all true to life, but more often than not it is simply that–true to life. And life is often not all that interesting to watch.
I realize that Gerwig and Baumbach both have solid credentials in films about life’s wry moments. Baumbach has successfully co-written with Wes Anderson and has written and directed such films as Margot and the Wedding and The Squid and the Whale; while Gerwig has been working–non-stop it seems–with directors as varied as Daryl Wein and, yes, Woody Allen (Midnight in Paris), while increasingly taking part in the screenwriting, as well. But Frances Ha left me wanting something more.
I want to like Gerwig and Baumbach’s work. I want to very much. I am excited about what they are trying. But so far, I am lukewarm with the results. I feel as if I know what they are trying to say, to do, but it is not coming across.
I feel as if they are running in place.