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Jul 13, 2014This review contains spoilers, click expand to view. Not only love, but sex, or rather, as Helen puts it, the "whole package", is what the art gallery curator wants from her coupling with Jessica, who insists on downplaying sex as being just one component" in a "loving and tender" relationship. "What we have is a friendship," she protests, "best friends", even, which for her incrementally straight partner, a journalist, is enough. How did Francois Truffaut tackle the same terrain of sexual politics, as portrayed in Kissing Jessica Stein? The narrator, in Jules and Jim, recalls how "people called them Don Quixote and Sancho Panza," and that "rumors circulated behind their backs about their unusual friendship." Although Jules puts the kibosh on Jim's pursuance of Catherine, whom we presume to be his lover par excellence, we later learn, after both men return from war, that their marriage is marked by celibacy. Sabine looks nothing like her father, Jim notes. Catherine's satiation, Jules admits, comes from other lovers. When he hands over Catherine without any hesitation or qualms, it's because the cuckolded husband apprizes his best friend's platonic love as being on par with his wife's feminine powers. Bi-curious Jessica, ultimately, doesn't covet women, and yet, bawls her eyes out over Helen's departure as if she did. Whereas Jessica, and Jessica alone would subscribe to the notion that "Jules' and Jim's friendship had no equivalent in love," Frances and Sophie take delight "in the smallest things" and accept "their differences with tenderness," a shared sensibility that transcends love of all persuasions. Manhattan settings both, essentially, Frances Ha picks up where Kissing Jessica Stein leaves off, but here, there is no analogue for Helen, since both Frances and Sophie are randy heterosexuals. "The coffee people are right. We are like a lesbian couple that doesn't have sex anymore," Frances says, sharing both cigarette, and inside joke, in regard to the careening apogee of their avowed sexual orientation. Modern love, indeed. Only David Bowie can explain them. When Frances' laptop light goes out, like a lover, Sophie stops the aspiring dancer from adjourning to her own room, and like a lover who nags about a partner's annoying little habits, she softly chastises Frances over her bad decorum, regarding socks in bed. Socks are the only piece of clothing she removes, which may surprise the viewer, since all of New York can see the uninhibited pair carrying on like Don Quixote and Sancho Panza. Alas, so who is Jules? And who is Jim? The film, it would seem, casts the titular character as Jules. Akin to the scene where Jim gives Catherine to his closest confidant, Frances, in a bequeathing of sorts, suggests that Sophie hook up with Lev, a roommate(one of her "two husbands", a Jules and Jim reference), which would reunite the Vassar graduates, turning the Manhattan apartment into something resembling her counterpart's crowded Austrian chalet. But Sophie, like Jim, already has a partner, and this is where Frances Ha diverges from the Jules and Jim template, since Frances' bespectacled friend remains loyal to Patch, whereas the German can't choose between Catherine and his fiancee. Frances, ever the martyr, rebuffs Lev's advances, because, perhaps, thinking ahead, she sees him as the key to luring Sophie back into her life, even though the Sacramento native thinks he's "magic". Back home for Christmas with family and friends, this transplanted New Yorker, now signified by tract housing instead of skyscrapers, and churchgoers instead of artists, seems less like a persona than a person, and more like a woman than a man. In NYC, she adopts the masculine role by paying for Lev's dinner, and also, Benji draws attention to her "weird man walk", suggesting that Frances is in drag, albeit less visibly than Catherine, who with chapeau and painted mustache, passes herself of as a man, one sunny day in France among the boys. Arguably, the scene where Frances teeters along the river Seine, the same river where Catherine jumps into, is not the first direct steal from Jules and Jim. While Frances' mother pounds on the bathroom door, the daughter lies down in the tub, more or less, underwater, which abstractedly recalls Catherine's drowning, when she drives, with Jim riding shotgun, off the dock. Like the similarly-themed Superbad, porn-lovin' Seth declares, "I don't know what I'm going to be into ten years from now," the same ambiguity imbues itself in this familial exchange: "Frances, how much longer?" asks mom. "I'll be out in a second," responds her adult child, or, maybe give it ten years. From an objective distance, Jules and Jim lock eyes, and for emphasis, the mis-en-scene freezes. What do the eyes say? In Frances Ha, the filmmaker instead employs close-ups and a shot/countershot during the climactic staring, following Frances' first show as a choreographer. We can see. What are we seeing?… Expand
Dec 20, 2013It was my personal favourite of the year. I just can't show how much I
loved this movie but will try my best in this review to explain. It was
just like the movie 'The Pursuit of Happiness' where it describes a person's struggle over professional as well the relationship with a best friend. I don't know why this movie was in black and white but very seductive, like women from CharlesIt was my personal favourite of the year. I just can't show how much I
loved this movie but will try my best in this review to explain. It was
just like the movie 'The Pursuit of Happiness' where it describes a
person's struggle over professional as well the relationship with a
best friend. I don't know why this movie was in black and white but
very seductive, like women from Charles Chaplin movies. The expressions
are 'the killer' if you are a man who fall easily for struggling women.
'Ruby Sparks' is my one of the year's favourite which was written by
the lead female of the movie and the same goes to 'Celeste and Jesse
Forever'. I know it is out of topic but I was saying the lead actress
from this movie who played Frances wrote this. All these were women
oriented subjects which rendered the movies from a distinct angle.
Frances is a cute and sarcastic woman in her late 20s lives with a best
friend Sophie in New York city. She is not talented but as a
professional dancer she earns enough to lead a happy life. Once she and
her boyfriend breakup, Sophie too throws an another bomb as she decides
to move out to live with her boyfriend. One after another her battle to
survive in the city for rich remains hopeless. But pursue for her dream
never ends as she wanted to be a fine choreographer. For all these she
must hold back her downs of her life and aim only up to self discover
the meaning of the life. Did she successful or not is what the movie
steadily chronicles her efforts.
The character Frances will be remembered for a long time, especially by
me. I just did not only had a fondness on that character but it
completely transformed me as one. In fact I felt the movie deeply into
me that I regretted for unable to give my support to Frances. I came to
know I am in love with Frances in the scene where she runs on the
streets of Chinatown. I think it is the best scene of the movie, very
adorable. You must watch the movie till the last frame before the end
credits roll up to know the meaning of this strange title. It was a
silly reason to have names like this for a movie but completely cool
and refreshing. It is not a thought provoking or an art movie but
believe me it is definitely a must see movie of the year.… Expand
May 25, 2013Frances Ha is a delightful study in character development and all the relationship struggles 20 something New Yorkers struggle with. Meaningful friendships is a common goal the individuals share with their ups and downs. Greta Gerwig shines throughout with an irresistible lightness that has her dancing sometimes aimlessly through the streets of NYC. We intently observe her trying to copeFrances Ha is a delightful study in character development and all the relationship struggles 20 something New Yorkers struggle with. Meaningful friendships is a common goal the individuals share with their ups and downs. Greta Gerwig shines throughout with an irresistible lightness that has her dancing sometimes aimlessly through the streets of NYC. We intently observe her trying to cope with her dance career and intimate partners and the inevitable disappointments as well as her moments of truthfulness and ecstasy.… Expand
Jun 8, 2013Noah Baumbach's latest is actually is best in years. Greta Gerwig is funny and sad sometimes at the same time Francis a women struggling with her career and life in her late twenties. Gerwig co-wrote the screenplay along with Bauback and is one of the best comedic screenplays in along time. I have never been a big fan of Gerwing, but that has changed with this movie, Thanks for provingNoah Baumbach's latest is actually is best in years. Greta Gerwig is funny and sad sometimes at the same time Francis a women struggling with her career and life in her late twenties. Gerwig co-wrote the screenplay along with Bauback and is one of the best comedic screenplays in along time. I have never been a big fan of Gerwing, but that has changed with this movie, Thanks for proving an adult comedy that is for adults… Expand
Jul 14, 2013Great directing. This movie is complete. Their was No BS ending, Because their was No BS Beginning. Quite interesting Black & White Motion picture it complemented the movie. The Director of this film should direct MORE FILMS, Preferably in color to loosen up the dreamy vertigo feeling. (A good effect.)
Dec 16, 2013Chronically a period of apartment instability of its title character FRANCES HA her late 20s begin relationships tail spin, Golden Globe nominee GRETA GERWIG is a sight to behold you can barely take your eyes off her will it be with Gravity & Blue Jasmine on the Oscar Best Actress list? SEE NOW on NETFLICKS... live streaming...
Dec 19, 2013The awkwardness of the characters, especially Frances, and the things they do is painful to watch. But it is in these poignant moments that Noah Baumbach's ability to give his characters life. He reveals the humanness of the characters replete with flaws and gaffes and missteps. A beautiful film.
Although the monochrome photography will invite comparisons with Manhattan, Frances Ha is closer in spirit to Godard than Woody Allen. Anchored by a charming performance from Greta Gerwig, it’s as light and breezy as a walk in Central Park, and just as refreshing.
Charming, poignant and often very funny, Baumbach and Gerwig’s latest collaboration is a joyous portrait of an unformed personality that should strike chords of recognition in all who watch it.