In most cases the first thing that comes to notice about a film is the genre. People naturally open a conversation concerning a movie by telling if it is a comedy, drama, Sci-Fi or whatever category is pertinent. Then there are the kinds of films that must first be considered by the style of cinema used to create it. Most times this occurs in the realm of independent film but examples have been noted in the mainstream movie world. Many of these
Indy film movements have managed to influence studio backed films therefore being a major force in expanding the scope and potential for the art of cinema. Among the techniques that made such a crossover and impact are cinema verite, improvisational and one of the more restrictive methodologies, Dogma 95. Admittedly films of this sort are not for everyone especially if your tastes in movies run towards standard Hollywood faire. As is the case with most forms of experimentation there are more times when the goals of the film makers are not fully realized. This is how film progresses; artists willing to go out on a limb to try something different just to see what happens. Personally I have always enjoyed such efforts even when the results fall short of expectations. At least there is a sense of honesty that pervades these films that is all too often lost in the main stream and non-experimental. At one time you had to live in a large city or at least a college town with an art house theater in order to see these little gems. Fortunately there are now many alternate ways to watch films of this sort from the net to DVDs and cable niche networks. IFC, The Independent Film Channel, has been releasing films of outstanding quality through a name well known to film buffs; Genius Productions.

One of the newest so independent films I came across recently is ‘Hannah Takes the Stairs’ by Joe Swanberg leading a talent group of fellow auteurs. The name given to the style of this film is the Mumblecore movement. the loose definition applied by the media ids ultra low budget films done in a mostly loose improvised story in lieu of s formal script. While there are a credited director and writer these films are often collaborative efforts with far less strictly defined functions. What each member of the cast and crew are responsible for overlap much more than found in traditional film making usually it is recorded on a handheld digital camera with a minimal time for rehearsal and few takes. This is the second film of this type I have reviewed with ‘The Puffy Chair ‘by Mark Duplass (who is in this film as well). The commentary track with director Joe Swanberg and lead writer/actors Greta Gerwig (Hannah) and Kent Osborne
(Matt) offers an excellent discussion of Mumblecore and how it is not a true movement with a set of rules or standards. It is really just a loosely associated group of like minded people, many who became friends and co-workers after meeting on the Indy film festival circuit.

It is practically impossible to go into a synopsis of this film. It is a very loose collection of moments bound together by their insight not so much into humanity but one young woman trying to find her way through life. Hannah is not emotionally damaged or in dire need of some form of intervention. Like many of her generation, and to be honest most all generations, she is feeling more than a little lost, uncomfortable in her own life. It does not impede her ability to function but it does result in her drifting in and out of relationships. Gerwig notes in the commentary track that there is a circular nature to the film with Hannah basically winding up precisely were the film began. This is not about a linear narrative as it is a free flow of experiences and moments. After all real life is rarely a straight foreword story it happens in little vignettes as depicted here. This is what works so well with this particular means of expression. Realism is vital here but unlike the draconian artificial restrictions used in a form such as Dogma 95 this methodology the audience is given something that they can readily identify with. The movie is basically and emotional type of visual tone poem that is to be experience instead of just viewing it. As part of this naturalistic approach there is very little concern over such matters as make-up. In many shots slight flaws in Ms Gerwig’s complexion are noticeable. There are normal bruises and even a cut on her foot that is used as a minor plot device tying together the start and end of the piece. The commentary track goes into detail about how props and situations that just came up or happen to be on hand made it into the film. Overall the commentary is much better than most in providing background and insight into the production. Another factor here that may seem unusual is the way nudity is handled. There is a good amount of full frontal nudity shown here but it doesn’t come across as erotic. Ms Gerwig is extremely attractive but in a more natural way not the overly glamorous, artificial idea of beauty prevalent in film today’s world of film. She is naked in natural situations like taking a shower or getting dressed. Again she is extremely attractive and obviously not shy about her body considering just part of expressing her character. The entire film is like that; no neatly packaged character arcs or development. Hannah ends up pretty much where she started but the film works as emotionally satisfying from a purely humanistic vantage point.