A down-to-earth main character. An enigmatic antagonist. An unexpected adventure. An internal social conflict. A breaking apart. A coming together. These are the same elements of every “coming of age” story, and “Mistress America” proves to be no exception.
“Mistress America” begins with the main character, Tracy (Lola Kirke), an introverted 18-year-old homebody and writer, attempting to assimilate into the culture of Barnard College in New York. When her only friend, Tony (Matthew Shear), drops her friendship when he begins dating another girl, Tracy becomes increasingly desperate to make friends, leading her to reach out to her mysterious step-sister-to-be, Brooke. Tracy and Brooke become closer and eventually embark on a series of comically misguided adventures.
Although the plotline fails to deviate from the all-too-familiar “coming of age” structure, there are certain aspects of the film that add an undeniable bit of character to the otherwise flat plot.
Even though there is minimal character development, certain minor characters, such as Tony and Tony’s laughably possessive girlfriend, Nicolette (Jasmine Cephas Jones), engage the audience with their moments of banter and antics. However, their comedy is not enough to compensate for the lack of chemistry between Tracy, Brooke, and the supporting characters––the only truly developed and realistic relationship is that of Tracy and Brooke. “Mistress America” would hardly have been different had there only been those two actors in the entire film.
Had there been more character and relationship development among the other characters, the comedy would have been more humorous. Brooke’s foil and “sworn enemy,” Mamie-Claire (Heather Lind), who “stole” Brooke’s ex-boyfriend, truly captivated the audience with her quasi-catty humor and excellent portrayal of jealousy. Similar to Mamie-Claire, Nicolette sheds light on the humor in jealousy by exaggerating her jealous behavior and making it a defining character trait.
Although the themes in the movie are overdone, “Mistress America” captures the reality of coming of age. Unlike its cinematic counterparts, it manages to accurately portray the awkward truth of the transition to adulthood.
The art in this movie is the use of subtlety in portraying their main ideas about coming of age––that it’s awkward, emotional, and that one can “come of age” at any point in their life. With excellent timing, engaging acting, and vibrant dialogue, Tracy and Brooke humorously demonstrate the reality of becoming an adult, and that it can happen at any age.
While undeniably cliché, the film’s artful use of timing in humor and engaging dialogue make the viewer pause and appreciate the film’s few unique aspects.
