Ginger & Rosa (2012)
★★ / ★★★★
Londoners Ginger (Elle Fanning) and Rosa (Alice Englert) have been best friends since childhood, but little do they know that 1962 is the year that will put a dent in their friendship. As the Cold War escalates between the Soviet Union and the United States, coupled with radio announcements about atomic bombs and missiles, the girls worry about the possibility of the world coming to an end. Though they start in the same path, Rosa is able to find a distraction—her attraction toward a writer, Roland (Alessandro Nivola), who also happens to be Ginger’s father.
Deliberately slow-paced and covered with a veil of gloom, writer-director Sally Porter is able to establish a metaphor between war and a crumbling friendship. However, the picture is not loyal to its title. While we get to know a lot about how Ginger thinks, what she feels, her motivations, and values, Rosa, more or less, functions as decoration. She is shown entering a frame, saying a serious line or two, and then it is onto the next scene.
A more accurate title would be “Ginger & Roland” because the father and daughter are the most interesting characters and their relationship has depth. I enjoyed how my feelings toward what they have changed over time. Initially, I thought Roland is a good influence on his daughter because he encourages her to think for herself, whether the topic be the existence of a higher power or what it means to be young and making a stand. Fanning and Nivola have a way of connecting with their eyes. Though they look very different, there is a sense of family in the way they interact with one another.
After Ginger learns that her best friend is romantically drawn to her father, there are a lot of bold questions worth asking. Naturally, Ginger feels upset. Is she unhappy because she feels awkward seeing the two of them acting like a couple? Does she feel the need to make a choice between her father and her closest friend? Knowing Rosa’s personality a little bit, does she want to protect her father? Or is it that she is upset because, deep inside her subconscious, she also wants to have her father in that way? I imagine Sigmund Freud having a field day with this film.
There is one character with whom I felt had a bigger role prior to the film ending up in the editing room. Bella (Annette Bening) is an American militant who is staying with Ginger’s godfathers (Timothy Spall, Oliver Platt). The screenplay attempts to draw parallels between this woman and the red-haired girl, perhaps suggesting that Bella is Ginger’s future: strong, confident, well-spoken—qualities that Ginger does not yet possess. I was curious to learn more about Bella but, like Rosa, she appears on screen only when convenient—to say a would-be powerful line and then to be forgotten for fifteen to twenty minutes.
The two young women join a youth club where they are able to perform lawful protests against the bomb. The sequences that take place in the club are largely superficial, underwritten, and lacking in energy. As a result, we never really get the feeling either Ginger or Rosa is learning something new. The supposed moments of inspiration feel too phony, movie-like. And I believe the writer-director felt this, too. There is a tendency to go for the closeup on Fanning’s face, so beautiful and so rich with emotion, every time the words uttered by the club leader reach holes in logic.