May 11, 2020
by Carla Hay
Directed by Coky Giedroyc
Culture Representation: Taking place in early 1990s England (and briefly in Dublin), the comedy film “How to Build a Girl” has a predominantly white cast (with some representation of black people and Indian people) representing the working-class, middle-class and wealthy.
Culture Clash: A 16-year-old girl who’s a misfit in school reinvents herself as a hotshot music journalist and becomes the type of bully she used to hate.
Culture Audience: “How to Build a Girl” will appeal mostly to people who like coming-of-age films about teenagers or movies about entertainment journalism, but viewers should not expect this film to have a realistic portrayal of what it’s like to be a beginner journalist.
“How to Build a Girl” tries very hard to be a charming, coming-of-age comedy with a heavy dose of nostalgia (in ways that writer/director Cameron Crowe’s 2000 Oscar-winning dramedy “Almost Famous” did so well), but “How to Build a Girl” suffers from presenting too many unrealistic fantasies about magazine journalism, in order to serve the movie’s cutesy plot. The results are mixed.
Beanie Feldstein gives a winning performance as the main character, and there’s solid direction from Coky Giedroyc in this movie that ultimately has a feel-good feminist message. But that message is cheapened by Caitlin Moran’s screenplay, which overloads the story with an abundance of “too good to be true” moments that gloss over the harsh realities of showbiz and journalism.
Moran adapted the “How to Build a Girl” screenplay from her 2014 semi-autobiographical novel of the same title, which was based on Moran’s real-life experiences of being a teenage journalist in the early 1990s for the now-defunct British music magazine Melody Maker. Moran also had some ’90s fame in her native Great Britain, as the host of the short-lived Channel 4 music show “Naked City.” She went on to write for several publications and became the author of multiple books.
In the “How to Build a Girl” movie, Feldstein plays Johanna Morrigan, a moody and bookish 16-year-old who comes from a working-class family in Wolverhampton, England. Johanna is the oldest of five children, and all of her siblings are brothers, including newborn twins. Her father Pat (played by Paddy Considine) is a frustrated drummer/wannabe rock star who’s been waiting for his “big break” for decades. Her disheveled mother Angie (played by Sarah Solemani) is overwhelmed with taking care of a large family and suffers from post-partum depression.
Angie is a homemaker and Pat can’t keep a steady job, so the family mainly off lives off of government assistance and whatever questionable “get rich quick” schemes cooked up by Pat. (At one point in the movie, Pat gets busted for fraudulently claiming disability benefits, while he breeds Border Collies for extra money.) At school, Johanna is an outcast who has no friends. Her closest companions are her dog Bianca and her gay teenage brother Krissi (played by Laurie Kynaston), who confides in Johanna about his boy crushes and tentative first steps in dating.
Johanna has an eclectic myriad of historical figures whom she admires and whose pictures she keeps plastered on her wall. They include Sigmund Freud; Elizabeth Taylor; Karl Marx; Sylvia Plath; Donna Summer; Cleopatra; the fictional Jo March from “Little Women”; Maria von Trapp of “The Sound of Music” fame; and writer sisters Emily Bronte and Charlotte Bronte. Johanna has a vivid imagination, so one of the memorable aspects of the film is that it sometimes brings these pictures to life, as they speak to Johanna and give her advice. Several well-known entertainers have cameos with these roles, such as Michael Sheen as Freud, pop star Lily Allen as Taylor, Jameela Jamil as Cleopatra, Gemma Arterton as von Trapp and Lucy Punch as Plath.
In fact, the most whimsical moments of “How to Build a Girl” come from Johanna’s numerous fantasies that are depicted on screen of what’s going on inside her head. For the most part, they work well in boosting the comedy level when the movie tackles some dark subjects, such as Johanna’s anxiety and depression that lead to suicidal thoughts. What doesn’t work well in the movie is the unbelievable way that she skyrockets from being an unknown teenage student to being a famous writer at a major rock magazine without any experience or knowledge of rock music.
Johanna has dreams of being a writer, but she hasn’t quite figured out what type of writer she wants to be. She enters a poetry contest with a poem titled “My Best Friend,” about her beloved dog Bianca. To her surprise, she ends up winning the contest. So, Johanna is invited to recite the poem on a local news/talk show called “Today in the Midlands,” hosted by a slick TV personality type named Alan “Wilko” Wilkinson (played by Chris O’Dowd, in a cameo).
Unfortunately, Johanna is extremely nervous when she gets to the TV set, so she ends up embarrassing herself by being overly touchy-feely with the host and rambling on about how she and Bianca are a lot like the famous cartoon characters Shaggy and Scooby Doo. Needless to say, Wilko can’t get her off the air fast enough.
Back at school, Johanna gets the expected teasing and bullying from her classmates for her disastrous TV appearance. She sinks even further into her emotional shell and starts having thoughts about killing herself. (Johanna’s imaginary friends on her wall try to cheer her up, but notoriously depressive poet Plath whispers that she can give Johanna some tips on suicide.)
Meanwhile, Johanna’s family falls further into a financial hole, as the family’s TV (which is the center of their household’s social activities) gets repossessed. But wouldn’t you know, here comes another contest. This time, it’s from the London-based rock music magazine Disc & Music Echo (D&ME), which is having a Young Gunslinger competition for aspiring young writers. The winner will get to write for the magazine on a part-time basis.
Johanna knows almost nothing about rock music (even though her dad is a rock musician, albeit an unsuccessful one), but she enters the contest anyway. She writes a sincere essay praising one of her favorite songs: “The Sun Will Come Out Tomorrow” from the musical “Annie.” And in yet another unrealistic plot point, she gets a call that she’s won that contest too.
So off she goes to London to D&ME headquarters, with excited dreams of becoming a glamorous music journalist. (D&ME is the movie’s obvious satire of real-life British music magazine NME.) However, Johanna gets a rude awakening when she discovers that the congratulatory call that she received was just a cruel prank from the sexist managing editor Derby (played by Ziggy Heath), who leads an all-male team of writers and editors.
Derby and his D&ME co-workers are skeptical that someone of the female gender can be taken seriously as a music journalist. One of the writers on the staff is the lecherous Tony Rich (played by Frank Dillane), who eyes Johanna in a way that makes it obvious that he sees her as “fresh meat.” (The age of consent in the United Kingdom is 16.)
When Johanna finds out that the D&ME editors think her writing submission was a joke and that they had no intention of hiring her, she refuses to leave. She begs, pleads and talks her way into being hired on the spot for an intern-type of position. It’s one of many unrealistic things that happen in the movie.
And she immediately gets a plum assignment: a concert review of Manic Street Preachers, who were one of the hottest bands in England at the time. So off Johanna goes to the club in Birmingham to see the band play. She’s accompanied by her father Pat, since Johanna doesn’t have her driver’s license. It’s Johanna’s first time at a rock concert, and she’s blown away by the experience.
Meanwhile, her father thinks that he can use Johanna’s new position at D&ME to pass on a demo tape to her to hopefully get it reviewed in the magazine. He even starts to sit in as a drummer for a young local band called the Strange Cases that come over to the Morrigan house to rehearse. As Pat Morrigan tells Johanna, he was raised to believe that the three best ways to get rich are by being a “boxer, a footballer or a pop star.”
Johanna doesn’t think her real name is cool enough for the magazine, so she comes up with the alias Dolly Wilde for her articles. She also changes her image, by ditching her mousy brown hair and dyeing it scarlet red. Johanna also stops wearing schoolgirl clothes and starts wearing outfits that look like shopping-mall versions of Victorian Goth, complete with black top hats and fishnet stockings.
When she hands in the concert review, which naturally gushes about the band in the review, Derby tells her that it sounds like a review written by a teenage girl. She’s crushed by the criticism because she was expecting to get a bigger assignment. However, Derby refuses because he thinks she’s an annoying girl who doesn’t know anything about the music she’s supposed to cover.
And then Derby does something very creepy in full view of several staffers: He tells Johanna to sit on his lap. Even though it’s obvious sexual harassment, Johanna uses it to her advantage, by playfully moving heavily around his lap and putting Derby in a headlock until a red-faced Darby relents and gives her another assignment, in yet another very unrealistic movie moment. This time, Johanna gets to fly to Dublin to do an interview with a British rock star on the rise named John Kite (played by Alfie Allen), even though she has absolutely no experience doing interviews and doesn’t know anything about John’s music.
Although “How to Build a Girl” tries to have a teachable moment with the sexual-harassment scene, it’s almost offensive how the movie brushes it aside with a slapstick response that pokes fun at the body size of the female target of the harassment. Would that scene have been done that way if Feldstein were a thin actress? Probably not, because the gimmick of the scene was that she was “too big” for Derby’s lap, and therefore caused him physical pain when she moved around on his lap. And he gave Johanna the assignment not because he thought she deserved it but because he just wanted her to get off of his lap and go away.
Johanna is woefully unprepared for the interview (how unprofessional), and she admits to John that she doesn’t know what she’s doing. She’s lucky that John is such a gentleman that not only does he give her a good interview, but he also shows her around Dublin. At the concert, she gets a backstage pass, so she watches the show from the side of the stage. Predictably, she’s transfixed and star-struck.
And when Johanna gets too tipsy from alcohol, John takes her back to his hotel room and lets her sleep on his bed, while he sleeps in the bathtub. And not once does he sexually harass her or try to take advantage of this obviously unworldly and gullible teenager. By the end of the trip, Johanna thinks she’s “in love” with John.
“How to Build a Girl” has the same problem that the 2019 comedy “Late Night” (starring Mindy Kaling) had in portraying a spunky heroine who’s chosen as the “token” female writer/co-worker in a male-dominated media job, even though she has no experience and is clueless about what it takes to do the job. Both movies make the mistake of having the main character fall into a bunch of “dumb luck” situations that lead to rapid career advancements that an inexperienced beginner would never get in real life, unless they have inside connections.
The heroines in both movies have neither experience nor inside connections, since each story relies on the premise that these newcomers are naïve outsiders when they get their dream jobs in showbiz. They were hired as “tokens” to be pitied or ridiculed, not to be respected. It panders to the worst negative stereotypes about affirmative action—that “token” people really aren’t qualified, and a “token” is getting a spot that should’ve gone to someone who is qualified. Affirmative action, when done right, is supposed to give qualified people a chance. (Coincidentally, both movies have Emma Thompson playing a boss, although her role in “How to Build a Girl” is essentially a cameo.)
It’s a disservice to feminism to portray these female protagonists as very ignorant, unqualified tokens who easily get a dream job that they didn’t work hard to get. It’s why “Late Night,” in its blatant and cynical pandering to forced diversity, flopped with audiences. And it’s why “How to Build a Girl” won’t win over a large audience either. Having a “cute” personality without working hard doesn’t entitle someone to great opportunities, even if you try to cloak it in a “feminist” message.
People in the real world don’t like it when filmmakers have a smug attitude that a female lead character with a plucky personality should be enough for audiences to root for that character. Audiences want a character who also has substance, starting with the character showing genuine appreciation for all the dumb luck that comes her way when she has her unrealistic, quick career ascension. It’s probably why “How to Build a Girl,” just like “Late Night,” isn’t going to find a wide audience, or even a cult audience that will enthusiastically recommend this movie to other people.
“How to Build a Girl” takes the protagonist’s dumb luck to new levels of “only in a movie” stupidity. While she’s still working part-time for the magazine, Johanna makes enough money to support her family, and she becomes very arrogant about it. This movie apparently doesn’t want the audience to know the reality that no magazine in the Western world pays a part-time beginner enough money to support a family of seven.
Johanna becoming the family’s breadwinner is an extreme plot development that’s unnecessary and undermines this movie’s potential to make this story relatable to a lot of people. It’s an insult to the audience’s intelligence for the movie to try to make people believe that an underage teenager who’s basically on the level of a magazine intern can suddenly support a large family with what everyone knows would be a very low salary in real life. A better-written screenplay would’ve kept it more realistic, by having Johanna make enough money to have more disposable income for just herself, not her entire family.
Johanna gets a minor setback when she’s about to be fired for writing articles that fawn too much over the artists. Derby and the other editors think she’s too immature and “girly” for the job. Tony is somewhat willing to defend Johanna, but it’s only because he has sleazy ulterior motives. He privately tells Derby, “There’s never been an organization that wasn’t improved from hiring jailbait.”
Once again, in an unrealistic way, Derby changes his mind about getting rid of Johanna, after she alters her Dolly Wilde persona to become a cruelly derogatory critic who uses over-the-top insults to get attention. Johanna’s change in writing style from star-struck fangirl to angry cynic was the result of a conversation that Johanna had with her smarmy co-worker Tony. “In order to get ahead, you have to get a hate,” Johanna says in an “a-ha” moment. In a voiceover, Johanna says, “Nice girls get nowhere, but a bitch can make a comeback.”
And in yet another unrealistic aspect of the story, Johanna actually becomes famous. She gets fan mail and is recognized in public by adoring admirers, all because of her writing in the magazine. Keep in mind, the movie takes place years before social media existed. Music journalists in the ’90s didn’t get the level of attention that Johanna gets in this movie, unless the journalists were on TV a lot. And in the movie, Johanna is a print journalist only, not a TV personality.
The rest of the movie shows what happens after Johanna’s “fame” goes to her head and she becomes everything she used to hate about people who bullied her. “How to Build a Girl” also explores Johanna’s sexual liberation (she loses her virginity and has various sex partners), and how it affects her attitude about herself and other people. The movie shows how she handles the issue of female journalists getting sexually involved with people they interview or co-workers, and how those choices can affect the reputation of a woman differently than a man who makes the same choices.
Issues about social classes are also addressed, since most of Johanna’s co-workers at the magazine are privileged young men who went to prestigious universities, while Johanna comes from a very different background. Although Johanna tries her best to fit in with the guys, there are a few scenes in the movie that effectively show how her elitist co-workers really feel about the gender/social barriers that keep someone like Johanna from truly being a part of their clique. Johanna also faces some ethical dilemmas that demonstrate how much she’s willing to “sell her soul” to impress her co-workers.
Feldstein (who’s an American) does an admirable job in portraying the Wolverhampton accent and the transformative character arc that Johanna goes through in the story. However, it’s time for Feldstein to move on to a better variety of roles, because she’s in danger of being typecast as the “awkward misfit.” So far, most audiences know her for playing awkward, misfit teens in films such as “Lady Bird,” “Booksmart” and “How to Build a Girl.”
And for a movie about music journalism, it’s a huge letdown that the soundtrack to “How to Build a Girl” is very forgettable. There isn’t one single scene in the movie that will make people remember a particular song, so don’t expect this movie’s soundtrack to be an award-winning hit, like the Grammy-winning “Almost Famous” soundtrack.
It’s also disappointing that Moran couldn’t use her real-life experiences as a music journalist to write a more realistic screenplay. This movie was clearly intended for adults (based on the adult language and sex in the film), but “How to Build a Girl” is also like a children’s movie in the way that it removes a lot of showbiz realities and replaces them with wide-eyed, unrealistic fantasies about how the business works. You can’t really have it both ways, because the end result is a movie with an uneven tone. “How to Build a Girl” wants to be edgy, but it’s as edgy as a melted popsicle.
IFC Films released “How to Build a Girl” on digital and VOD on May 8, 2020. The film’s U.K. release is on July 20, 2020.