THE STORY – Has life after college always been such a drag? Isabel is a young, Juilliard-trained violist still living at home with her parents in the heart of New York City. She’s trying to make a living playing gigs with her friends in the homes of strangers. But when her toxic ex-boyfriend reappears, who also happens to be the Philharmonic’s “newest, hottest cellist,” he informs her of a viola opening in the prestigious orchestra. Nothing can go wrong, right?
THE CAST – Isabel Hagen, Dylan Baker, Ling Ling Huang, Frederick Weller, Jamie Lee & Eric Bogosian
THE TEAM – Isabel Hagen (Director/Writer)
THE RUNNING TIME – 78 Minutes
One of the hallmarks of modern indie film is the opportunity to tell hyper-specific, hyper-personal stories. “On A String” does just that, with writer-director-star Isabel Hagen bringing a pretty singular experience to the screen. After all, how many professional violists do you know? Hagen is a real-life viola player-slash-comedian, and her film represents her big screen debut for every one of her trio of cinematic responsibilities. By nature, it’s a very small film, getting back to the heart of what independent cinema does best. Whether it manages to establish its purpose in an entirely captivating way is another matter, but it’s a charming and funny story of delayed adult independence.
In the film, Hagen plays a fictional Isabel. She’s a New York violist who makes her money by playing in a string quartet at various functions, from weddings and funerals to catered benefits for the obnoxiously wealthy and odd, intimate affairs for rich weirdos. She still lives with her parents and brother – musically inclined, all of them – and struggles to hold onto a romantic partner. When the opportunity to audition for the New York Philharmonic presents itself, she pushes herself to prepare for it and hopefully make a professional breakthrough.
Clearly, there’s not much of a standard plot in terms of propulsive action and dramatic stakes. It’s not a spoiler to say that the NY Phil audition doesn’t even come at the conclusion of the film, as many similar stories might do, but instead towards the end of what somewhat resembles the film’s second act. This isn’t a movie driven by a typical story but instead a portrait of a woman trying to finally grow up. Much like her life, the dramatics are comparatively low-key. In fact, the film’s ambling nature makes total sense as a reflection of Isabel’s mostly aimless existence. Refreshingly, neither she nor her parents seem to be too concerned with her situation – there’s no hackneyed, cliche scene where she’s told to get her act together. She lives a comfortable life with the possibility of greater success just slightly out of reach, and who can’t relate to that?
Hagen shows a great gift as a director for comedic timing. She makes excellent use of jarring close-ups and quick cuts to maximize the humor. And seeing the numerous and varied types of gigs she plays is a consistently funny visual gag. The ensemble is filmed with some hilariously New York-y New Yorkers, including clueless rich Manhattanites and trendy Brooklynites. These jokes may not present or comment on anything new, but anyone who’s ever endured showtime on the subway will surely get a kick out of it.
As an actress, Hagen is sympathetic and relatable. She has an excellent ability for facial expressions that often say more than her character’s dialogue. Watching her, it’s hard not to think of a “Frances Ha”-era Greta Gerwig. And the always-reliable Dylan Baker adds yet another caring dad role to his resume as Isabel’s father. His best moment comes in a simple scene between him and Isabel, where she confesses all of her troubles to him, and, as the best dads do, he kindly and humorously puts things into perspective for her.
“On A String” is a gentle film; even its more satirical elements aren’t particularly prickly. That softness, combined with extremely low dramatic energy, unfortunately, means that it’s not always the most enthralling film, and its abrupt ending (and super short runtime) gives it the impression of inconsequentiality. But like life, its simplicity can be seen as a gift, as the film avoids the obvious pitfalls of contrived histrionics and irritating cliches. Much like her character, Hagen has great potential, and it remains to be seen if she can elevate her abilities to something of greater significance down the road that still maintains her individualistic spirit.
