Writer-director Josh Margolin’s feature debut, “Thelma,” is a splendid gem of hilarity and heart. Thelma (June Squibb) is a 90 year old woman, who after falling victim to a phone scam that costs her $10,000, is determined to get her money back by any means necessary. Her close relationship with her grandson, Danny (Fred Hechinger), a 24 year old stumbling through adulthood, desperate for even footing, serves both as the film’s central relationship and impetus of action. He looks after her, incessantly begging her to wear her emergency wristband, teaching her how to use the computer, and enjoying the thrilling stunts of “Mission Impossible” by her side on the couch.
It’s when scammers dupe her into believing that he is in prison and in need of bail money that she mails the cash via a Post Office drop box. The police aren’t optimistic about her chances of recouping her funds, and everyone seems to accept this resignation, except for Thelma. Her frustration coupled with Danny’s well-intentioned demands that she doesn’t go anywhere on her own, leaves her feeling dependent and stuck. And so sets forth her journey, inspired by Mr. Cruise himself, to reclaim her agency and scheme and spy her way to a refund.
“Thelma” is laugh-out-loud funny, carried on the shoulders of Squibb’s hilarious physical comedy and line deliveries (helmed of course by Margolin’s excellent script, rife with one-liners). The action movie inspiration makes itself clear, though what’s most impressive is its seamless translation that takes larger than life tropes and transfers them into elderly realism. Swapping high speed chases and pit maneuvers for scooters with rechargeable batteries playing chicken, “Thelma” grounds itself in action that’s attainable for its lead. The result is not only side-splitting comedy, but a helping hand to the film’s larger thesis regarding age and capability.
The fear of aging and losing independence is an emotional sore spot that is often inherent to the senior experience. Foiled with Danny’s apprehension for his future and overbearing coddling from his parents (fantastically performed by Parker Posey and Clark Gregg), it’s apparent that Thelma is feeling the same way. There’s a pointed similarity to these varied forms of coming-of-age: learning to grow up and accepting growing old, and the film treats both of its subjects with deserved grace.
Thelma’s old friend, Ben, played by the late great Richard Roundtree, is recruited for her escapade (somewhat unwillingly, as she steals his scooter as a means of transportation). As Danny and his parents panic about the mystery of her whereabouts, Thelma and Ben are cruising through the San Fernando Valley, laying out the plan while also debating the philosophy of senior living.
Roundtree’s performance breaks up the laughter and tension with immense tenderness. Ben, a widower, is happy and willing to live in his retirement home, learning how to assist during elderly falls and running his lines for the facility’s play. Thelma views the whole scenario as a failure, indignant and defensive about the vulnerability that aging brings. The idea that dependency doesn’t equal inability, and there’s strength is accepting help, is a tough pill for her to swallow, but one that “Thelma” affirms throughout its runtime. These conversations between Ben and Thelma reveal not only the emotional baring of the film but also allow for Squibb to show her range as she lets Thelma’s facade crack under pressure.
“Thelma” is a film that is unshakeably certain of itself. Its identity and intentions are clear, and executed at the peak of their potential with care, truth, and unabashed reality. Hilarious and moving, the film strikes a phenomenal balance between character investment and plotty excitement. Margolin’s script effortlessly transitions between these deeply empathetic asides and into sequences of pure slapstick amusement. With comedy as its platform, the film leaps off the precipice and becomes so much more mid-air, taking its viewers on a journey through each and every emotion, and landing gracefully with the ignition of the desire to hug your grandparents a little tighter next time.
Our Sundance 2024 coverage is sponsored by the Gene Siskel Film Center. One of the last arthouse theaters in Chicago, they present a curated collection of international, independent, and classic cinema reflective of Chicago’s diverse community. Learn more.
The film community that has been built and continues to grow through Cinema Femme is how we thrive. Our local community continues to grow, especially now courtesy of our involvement with Camera Ambassador and our collaboration that has produced the print publication, THE CALL SHEET. Our world-wide community grows through our readership and our short film fest. We are so happy to have Independent Film Alliance Chicago as a fiscal sponsor for our festival, but our year-round magazine needs your support. Please consider donating to support us as we give you extensive festival coverage over the next few weeks. We appreciate you and your support!
