Lena Dunham's Catherine Called Birdy is a boisterous, ballsy, medieval delight
In adapting Cushman’s work to the screen, Dunham crafts an endlessly quotable script that has no qualms about gleefully avoiding strict period accuracy. Birdy narrates the tale as a diary entry and while such near-constant voice-over would normally be an intrusive and annoying crutch, any opportunity for Birdy to articulate her thoughts about her friends, family, and would-be husbands proves welcome.
Many of the film’s rich, well-drawn characters represent the period’s often opportunistic attitudes towards love and marriage. Birdy’s friend Aelis weds a 9 -year-old who happens to be a duke, while George’s marriage to Ethelfritha is strictly transactional: she gets the title she desires while he gets her money. Then there’s Birdy’s best friend, Perkin , fated to a life of struggle for reasons that add a note of progressivism that aligns with Dunham’s tendency to reach for “voice of a generation” significance.
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