From Director Greta Gerwig: Who is Greta Gerwig?
With the latest Barbie motion picture, Greta Gerwig is entering an exclusive league of female filmmakers. Alongside Ava DuVernay, Patty Jenkins, and Kathryn Bigelow, Gerwig stands as one of the select few women to helm a live-action film with a colossal budget of US$100 million.
In a mere trifecta of films, Gerwig has swiftly become a household name in Hollywood. However, her cinematic journey extends far beyond her directorial ventures. Gerwig has embarked on a distinctive career, nimbly transitioning from being in front of the camera to commanding it from behind.
Though divergent in theme — encompassing teenage turmoil, familial strife during times of war, and the contentious realm of children’s playthings — Gerwig’s cinematic opus remains linked through her profound exploration of femininity. She is celebrated for her unwavering commitment to narrating women’s tales with heartfelt emotion and clever wit, all within the intimate confines of an “indie” filmmaking style.
Mumblecore
Gerwig’s artistic voyage commenced in the realm of acting and co-writing within a sub-genre of American independent cinema known as “mumblecore.” These unassuming and naturalistic films showcased non-professional actors in the midst of mundane, everyday scenarios.
Film critics coined the term “mumblecore” to encapsulate a wave of do-it-yourself, dialogue-driven films where characters meandered and murmured their way through life.
Due to the improvisational nature of mumblecore films, the cast often shared writing credits, actively participating in constructing the dialogue, characters, and storyline.
Gerwig became a prominent figure in this realm of low-budget experimental filmmaking, closely collaborating with Joe Swanberg. Together, they co-wrote and starred in LOL (2006) and Hannah Takes the Stairs (2007). To further hone her skills, she co-directed Nights and Weekends (2008) with Swanberg.
Andrew Bujalski’s Funny Ha Ha (2002) is widely regarded as the pioneering mumblecore film. Emphasizing amateur actors and authentic settings, Funny Ha Ha set the tone and established the blueprint for a new wave of budget-conscious, understated filmmakers, depicting the struggles of a recent college graduate in search of temporary employment.
The influence of mumblecore can be observed in television shows like Girls (2012–2017), Broad City (2014–2019), and High Maintenance (2016–2020).
Mumblecore has proven to be a crucial training ground for numerous influential filmmakers of today, including Barry Jenkins, the Safdie Brothers, and, of course, Gerwig.
Indie darling
Following her mumblecore triumphs, Gerwig began collaborating with more established indie writer-directors as an actress. She worked alongside the likes of Woody Allen in To Rome with Love (2012), Whit Stillman in Damsels in Distress (2011), and Rebecca Miller in Maggie’s Plan (2015).
Gerwig swiftly carved a niche for herself as a whimsical leading lady. The New York Times’ film critic, A.O. Scott, describes her as “more goose than swan… big-boned and a little slouchy, indifferent to the imperatives of gracefulness.”
The most pivotal relationship in Gerwig’s career thus far has been with writer-director Noah Baumbach. Their paths crossed when she starred alongside Ben Stiller in Greenberg (2010). Since 2011, they have been inseparable both personally and creatively, sharing the joys of parenthood.
Gerwig and Baumbach’s creative alliance has resulted in the creation of Frances Ha (2012), Mistress America (2014), White Noise (2022), and now Barbie. Gerwig co-wrote and starred in Frances Ha and Mistress America, while Baumbach co-wrote and directed.
Under Baumbach’s guidance, Gerwig exudes a radiant and vivacious energy. She radiates a charming awkwardness, a youthful carefree spirit, and an overwhelming sense of joy. As described by The New Yorker’s Richard Brody, “Gerwig may be renowned for her non-actor-like demeanor, but she is an extraordinarily accomplished performer.”
In Frances Ha and 20th Century Women (2016), Gerwig unleashes an electric presence, effortlessly capturing attention alongside other magnetic screen luminaries such as Adam Driver, Annette Bening, and Elle Fanning.
In the past few years, Gerwig has increasingly ventured into the realm behind the lens, commencing with her directorial debut, Lady Bird (2017).
A maestro
Lady Bird outshone most other filmmakers’ first endeavors, amassing five Academy Award nominations. Gerwig earned nods for writing and directing, making her just the fifth woman ever to be nominated for the esteemed best director accolade.
Possibly due to her background as a writer and actor, Lady Bird propelled Gerwig onto numerous “directors to watch” rosters. Moreover, Lady Bird cemented Gerwig’s dedication to femininity, women’s culture, and the lives of young women, all of which have historically been undervalued.
Both male and female directors have achieved critical and commercial triumph by narrating tales revolving around masculinist concerns, such as war epics like Sam Mendes’ 1917 (2019), stories of male genius like Christopher Nolan’s forthcoming Oppenheimer (2023), and superhero franchise films like The Batman (2022).
Conversely, stories centered on women and domesticity seldom receive as much acclaim, as they lack the cultural allure of “importance.” Yet Gerwig’s films consistently challenge this dichotomy by magnifying intimate, personal tales of women’s lives on the grandiose canvas of our movie screens.
Leveraging the commercial and critical success of Lady Bird, Gerwig utilized her newfound cultural and industrial capital to write and direct a fresh adaptation of Louisa May Alcott’s Little Women. Although it may not have seemed so at the time, this was a daring second film. Gillian Armstrong’s 1994 rendition, featuring Winona Ryder, Susan Sarandon, Claire Danes, Kirsten Dunst, and Christian Bale, is a beloved classic among a generation of women.
Gerwig’s Little Women (2019) starred Lady Bird’s Saorise Ronan and Timothée Chalamet, and received six Academy Award nominations. Such a well-known and cherished adaptation brings with it lofty expectations, yet Gerwig’s rendition has been widely commended for its inventiveness and faithfulness.
Through Little Women, Gerwig solidified her standing as a potent writer-director capable of shepherding beloved works with subtlety and intelligence. With Barbie, Gerwig appears to embody the assertion made by Amy March in Little Women that “writing things is what makes them important.” By writing (and creating a film) about Barbie dolls, Gerwig confers significance upon them.
If the Barbie trailers are any indication, we can anticipate the movie to treat the much-maligned feminine cultural object with irony, intellect, and affection. Gerwig has imbued her work, from her mumblecore films to Lady Bird and Little Women, with a tenderness, a razor-sharp wit, and a reverence for femininity.
Despite the grandiose budget, flashy trailers, and star-studded cast, Barbie dolls are inherently linked to the domestic and the personal. Just ask any child with a cherished Barbie, and they can regale you with tales of their doll’s personality, quirks, and professions.
Given Gerwig’s track record of honoring femininity, intimacy, domesticity, and women’s culture, I am confident that Barbie is in capable hands with her.
