what is your opinion about the character of the bird
Answers
For a film that casts a devastatingly incisive eye on the depths of fragility that a parent-child bond can plumb, Lady Bird starts on a rather docile note: both mother and daughter are shown sleeping side by side – one the yin to the other’s yang – their frames delicately juxtaposed against each other. There’s an almost tangible air of grudging affection, even as it soon becomes clear – over the course of this wonderfully astute study of familial discord – that these are two strong-headed protagonists with an unshakeable sense of conviction who are not destined to see eye-to-eye on many matters of mutual importance.
The bickering is incessant, and the dynamics of this tempestuous relationship are established early on. In a standout scene, Christine McPherson, aka the self-christened Lady Bird (played by the magnificent Saoirse Ronan, wise beyond her years) berates her mother, Marion (Laurie Metcalf) for not taking her seriously enough when she expresses a desire to move to a place “where the culture is – like New York, or at least Connecticut, or New Hampshire, or where writers live in the woods” – basically, anywhere other than Sacramento, California where she currently resides. The writing is on the wall: she would much rather fall out of a moving car and fracture her hand than subject herself to what she deems a rather alarming paucity of maternal empathy.
Alarmingly enough, much of this frustration almost feels justified.
Saoirse Ronan is an electrifying actress – one blessed with oodles of charisma and terrific screen presence – and she is a perfect fit for this role of an irascible, subversive protagonist who lives life on self-dictated terms: the type whose first act on attaining adulthood is to try out a cigarette for herself and buy the latest issue of Playgirl. Delirious and disarming in equal measure, she imbues this film with both depth and feeling, bereft of any lachrymosity or overt histrionics. In director Greta Gerwig, she finds an ideal foil: the latter’s affection for her eclectic bunch of characters shines through in this film, and that is part of the reason why it becomes so darned hard to take sides.
The detailing is a thing of beauty.
In a film embellished with many beautiful vignettes, a few stand out. “Just because something looks ugly doesn’t mean it is morally wrong,” Christine thunders in one of the film’s most powerful scenes, even as she tells us that “the only good thing about the year 2002 is that it is a palindrome”, and goes on to paint graffiti – “Just Married to Jesus” is her choice of words – on the back of a teacher’s car. She is a fervent believer in the appropriateness of her eponymous name – representative of “a bird’s head on a lady’s body”, as it were – and finds herself involved in a series of romances that play out through coy glances and even coyer smiles.
In a film as deftly directed as this, however, the occasional misstep does stand out. The climax is a little too dragged out for its own good and slips into predictable territory, even as some characters – the Solitaire-loving father, and the slightly irksome mother, for instance – come across as being a little too thinly etched.
And yet, there is so much to admire about this film.
Lady Bird is as much a study of the nature of social ostracization and of existential angst as it is about the need for parental empathy. It gently eavesdrops on the life of its protagonist – but never feels intrusive or voyeuristic – even as it goes about dissecting it with clinical precision. Authentic to a fault and directed with great sensitivity, it revels in its emotional nudity even as its protagonist embarks upon an unforgettable journey of self-discovery. If there’s one thing this winsome, delightful film teaches us, it is that unfettered flights – both of fancy and of self-discovery – have an unparalleled beauty of their own.
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