Stars: Hailee Steinfeld, Haley Ly Richardson, Blake Jenner, Woody Harrelson, Kyra Sedgwick, Hayden Szeto and Alexander Calvert.
Writer/director: Kelly Fremon Craig.
The beautiful words and deceptively complex humans are entirely the creation of writer/director Kelly Fremon Craig, but it is undeniable that her remarkable debut feature The Edge of Seventeen has clearly been afforded the wise, guiding hand of producer, James L. Brooks.
On the rare occasion that contemporary mainstream cinema offers up smart, cool teen protagonists such as Hailee Steinfeld’s Nadine Franklin, they are immediately aligned with the 80’s oeuvre of the late John Hughes, specifically Pretty in Pink and Sixteen Candles. But Nadine’s determination to inflict her defining personality traits upon those with whom she shares this world – general teen angst, profoundly ingrained grief and a fear of loss that manifests as caustic wit and social solitude – more accurately resembles the dark psyches of Brooks’ great anti-heroes, notably Jack Nicholson’s Melvin Udall in As Good As It Gets and Shirley MacLaines’ Aurora Greenway in Terms of Endearment.
Fremon Craig sets that bittersweet tone from Scene 1; Nadine is in a heightened panic, unloading upon Woody Harrelson’s cool teach Mr Bruner some well-considered suicide options. Defying all the clichés of the flashback device, a wonderful montage establishes Nadine’s long-held outsider status and the importance of her soul mate friend, Krista (Ava Grace Cooper as a tot; a terrific Haley Lu Richardson through the awkward years). After tragedy reshapes the start of her train-wreck teen years, the dynamic she shares with her slowly unravelling mom, Mona (Kyra Sedgwick) and stoic, beau-hunk brother, Darian (Blake Jenner) takes on a quite desperation, interspersed with high tension.
The 80s high school vibe is dragged kicking and screaming into the present-day when Nadine’s lustful fascination with brooding senior Nick (Alexander Calvert) is conveyed via an accidental tweet, leading to a tense night-time car park encounter. Fremon Craig and her leading lady subvert both the dramatic and comedic potential inherent in this achingly portrayed sequence; it is a razor-sharp piece of character development that foreshadows a revelatory cathartic Act 3. It is also a reminder that the edge of seventeen is a complex, often dangerous time when girls are faced with navigating their own path into young womanhood.
The Academy’s respect for the younger audience will be reflected in their willingness to reward Hailee Steinfeld with an Oscar nomination. James L Brooks guides his leading ladies to podium glory (three Best Actress trophies, to MacLaine, Holly Hunter for Broadcast News and Helen Hunt for As Good As It Gets), but ‘teen pics’ do not always survive award season vetting. Recent nominees who were under 20 include Quvenzhane Wallis (Beast of The Southern Wild, 2012), Gabourey Sidobe (Precious, 2009), Carey Mulligan (An Education, 2009) and Keisha Castle-Hughes (Whale Rider, 2003), all featuring in films that carried Oscar-friendly thematic add-ons. The only comparable films to find Oscar’s favour have been Juno (for which Ellen Page earned a 2007 nomination) and 1999’s Election (for which Reese Witherspoon did not; the film made the Best Screenplay shortlist).
Steinfeld must be a front-runner for a role that careens between brittle toughness, wordy bravado and heartbreaking sweetness. Also in contention must be Fremon Craig’s script, which plays to the teen audience with recognisable moments of anguish and glee (the romance subplot involving Hayden Szeto’s American/Korean student feels both fresh and warmly familiar) while exploring some very adult emotions; as with the best of the genre, it is a film about teenagers but not just for teenagers.
The teen movie beats ring true because Nadine inspires a faith that fate will cut her a break, despite her best efforts to derail destiny. We shouldn’t cheer, even care, for her, but all her flaws and idiosyncrasies are all ours, too; we adore her because we recognise her struggle. Every generation has a teen character that personifies the real and unreal of those horrible, wonderful years and whose struggles still resonate; Benjamin Braddock, Joel Goodsen, Lloyd Dobler, Cher Horowitz, Tracy Flick. For this generation (and many more to come), there is Nadine Franklin in The Edge of Seventeen, a coming of age journey as good as it gets.