Year of release: 2016 Directed by Rebecca Miller. Starring Greta Gerwig, Ethan Hawke, Julianne Moore, Bill Hader, Travis Fimmel, and Maya Rudolph.
Portraying different perspectives can be difficult in film. In writing the technique is natural – the author just switches to a different narrative voice. However, a film’s story is primarily told through the camera, which usually acts as a sort of third person observer, independent from the limited perspective of a specific character. One of the most remarkable aspects of Maggie’s Plan is the way director/writer Rebecca Miller shifts the narrative perspective from that of the titular protagonist to an independent third person observer over the course of the film.
The first act of the film is told from the perspective of Maggie, played by Greta Gerwig with her typical awkward charm and effervescence. Since Maggie is headstrong and somewhat blinded by her determination, she sees the world in clear terms of black and white. As a result, her friends and acquaintances appear almost as caricatures, or slightly too much for the story – a criticism she levels at her lover John’s (Ethan Hawke) novel.
However, after an unexpected shift coupled with a chronological jump of a few years, the narrative perspective of the film pulls back to that of an independent observer and allows us to see all the characters as they are. Maggie is determined, organized, and very optimistic, but she is also a control freak, or “bossypants,” as called by her friends’ young son. Ethan Hawke’s John is an accomplished scholar and lecturer, but something of a man-child and a workaholic as well. John’s wife Georgette (Julianne Moore) first appears as an oppressive witch, but as we learn more about her, her strong will is mitigated by her compassion and concern for her family.
In order to fully reflect the shifting narrative perspectives, the actors subtly alter their performances. When we first meet Georgette, Moore speaks with an over-the-top accent for the shrewish foreign wife. That accent naturally mellows as the audience sees her from a perspective other than Maggie’s. With her seamless fluctuation between stony and sensitive, Moore nearly steals the movie. When Maggie is infatuated with John, his immature ticks come across as cute, but Hawke makes those ticks more exaggerated when we are meant to see him as less mature than we initially thought.
Maggie herself is highly organized, independent, and seemingly in charge of her life. The film opens with her planning to become a single mom via artificial insemination and avoid the pitfalls of a romance. Her best friends (Bill Hader and Maya Rudolph) express some hesitance at her headstrong confidence that everything will go exactly as she wants, but she shrugs them off because she knows she is in control. As Maggie’s manipulative scheming makes a mess not only of her life, but John’s and his family’s as well, the irony of the control freak masterminding a scenario in which she has no control is highly apparent. I particularly appreciated the honesty of the film in depicting the pain and difficulty caused by divorce, affairs, and artificial insemination.
My biggest complaint is that the ending ties all the plot points together too neatly. While I appreciate the ending’s inclusion of a character who had been out of the film until then, the simple solution it offered undermined the messy consequences that the characters had all learned to live with. As a result, it returned to the too-muchness of the beginning when we only saw characters via Maggie’s perspective.
Maggie is another successful creation of Gerwig’s. She may not be as strong and as loveable and funny as Gerwig’s recent collaborations with Noah Baumbach, but Gerwig’s naturally joyful persona successfully anchors this story about learning to let go of control, and she’s bolstered by strong performances from the rest of the cast as well.
Content Advisory: Brief sexual activity with partial nudity, frank discussion of artificial insemination including a non-graphic depiction of the procedure, and casual rough language throughout. MPAA rating: R
Suggested audience: Adults with discernment
Personal Recommendation: B