Catherine Called Birdy

Taking on the same feisty, freewheeling attitude as its title character, Catherine Called Birdy is more ambitious in its intention than its execution.

The anachronistic dialogue and historical liberties make clear the subversive intentions of director Lena Dunham (“Girls”) almost immediately in updating the children’s novel by Karen Cushman for an age of social media and short-attention spans.

In avoiding the trappings of stuffy period pieces, the filmmaker demonstrates her affection for the source material. Yet her attempt to playfully poke fun at costume dramas with a modernized satirical sensibility tends to overcompensate by bordering on self-indulgence.

The coming-of-age story follows a rebellious, impulsive 21st century teenager (Bella Ramsey) — not literally, of course — stuck in a 13th century society of arranged marriages and other oppressive patriarchal customs.

In a small English village, Birdy’s father, Lord Rollo (Andrew Scott), is desperate to preserve the family’s social status despite being in financial dire straits. He arranges dates for Birdy, even though she’s only 14, with a handful of older, wealthy suitors.

Defiantly headstrong, Birdy is having none of it, much to Rollo’s chagrin. She drives away every potential husband in favor of choosing her own path to happiness, which remains elusive. “Disobedience has gotten me nowhere,” she laments.

She would rather hang out with her uncle George (Joe Alwyn) or confide in a peasant friend (Michael Woolfitt), while her sardonic observations in her diary provide the narration.

Dunham’s script introduces us to several characters in rapid-fire fashion early on, most of which are minimally developed after that. Some are more obnoxious than endearing, making it easier to sympathize with Birdy, even as her journey of self-discovery hits more familiar beats in the second half.

The primary value of the book, and perhaps the film as well, is providing its target audience with a relatable view of history through Birdy’s eyes. As such, it manages some scattered big laughs from her adolescent naivete, such as when her nanny (Lesley Sharp) teaches her about the “monthly tidings” that come with female puberty. Jokes about farting and nose-picking are here, too.

More broadly examining medieval sexual politics through a contemporary feminist lens, Catherine Called Birdy is moderately amusing but not as progressive as its inclusive cast would suggest.

Rated PG-13, 108 minutes.