Where have all the indies gone? The days when the likes of Steven Soderbergh or Hal Hartley were delivering idiosyncratic but exciting films seems a world away. With the rise of franchises and “sequel-itis”, a lot of American indie movies seem to have been squeezed out of cinema real estate. But occasionally one sneaks through, and for that we should be grateful. And at the moment, that one is Josh Margolin’s terrific Thelma.
Thelma is Margolin’s first feature, and he based the title character on his own grandmother (made clear via a lovely coda). The plot is loosely based on real events involving the real Thelma. So it was clearly a project close to Margolin’s heart. His genuine affection for his characters shines through; aided by some wonderful performances.
Thelma (June Squibb) lives alone since her husband died. But her grandson Daniel (Fred Hechinger) visits her often (he seems to have plenty of time on his hands) to check on her welfare and to try to educate her about computers. But one day Thelma receives a phone call, apparently from Daniel, saying he’d been in an accident and was in jail. “Daniel” hands the phone to his “attorney” who says Thelma needs to send him $10,000 in cash to secure Daniel’s release. In a panic, she gathers us the money and posts it to the address she was given. Of course, it was a scam; something that soon becomes all too clear. After Daniel’s mother Gail (Parker Posey) and father Alan (Clark Gregg) arrive, Thelma overhears them talking obliquely about whether she can still cope on her own. But Thelma has a plan.
After re-tracing her steps to recover a piece of paper with the address the scammers had given her written on it, she convinces Danny to drive her to an aged care facility. She meets up with her old friend Ben (Richard Roundtree), although the visit isn’t entirely social. Thelma wants to borrow Ben’s mobility scooter to get to the scammers’ address. Ben won’t agree but Thelma won’t take no for an answer and steals the scooter. She gives Ben an ultimatum – she’s going to take the scooter, and he can come with her, or she’ll go alone. Reluctantly, he decides to go with her. So this unlikely pair of nonagenarians set out across Los Angeles to get Thelma’s money back.
The idea of a slow road movie has been done before – David Lynch’s The Straight Story and Alexander Payne’s Nebraska (in which June Squibb also appeared) spring to mind. Thelma is a worthy addition to this rather niche genre. Margolin (directing from his own script) keeps things pretty light; although he knows when to push the emotion button for maximum effect. Although some of the seams are showing in the plot (including a couple of heavily telegraphed moments), Margolin manages to keep everything on track and delivers a satisfying ending. The film was shot mostly on location on the streets of LA. This adds authenticity but is also lovingly captured by DOP David Bolen. I would also shout out the elegant score from Nich Chuba (Shogun TV series).
The script tiptoes a fine line between comedy and pathos. While Margolin includes scenes in which the older characters deliver comic moments, they’re never cruel or demeaning. Indeed, if anyone needs help in the film, it’s probably Daniel, whose shiftless existence is contrasted with Thelma’s clear-eyed determination. Conversely, the moments of pathos are never maudlin. This balance is tricky to achieve and Margolin manages to get it just about right.
Incredibly, Thelma marks the first ever starring screen role for June Squibb but she certainly makes the most of it. She brings a delicate mix of bewilderment, determination and empathy to Thelma. While it would have been easy to play the role for laughs, Squibb makes her a fully rounded character that audiences can cheer for. In his final screen role, Richard Roundtree (the original Shaft) delivers a charming performance as Ben. Fred Hechinger (The Woman in the Window) also gives a fine turn as Daniel, even though the character gets sidelined about half way through the movie. And the same can be said for Parker Posey (Beau is Afraid) and Clark Gregg (Captain Marvel) as his concerned parents.
Thelma delivers something increasingly rare in cinema – a film that’s both smart and emotionally satisfying. This is the kind of “family” movie the world needs right now.
David Edwards
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David Edwards is the editor of The Blurb and a contributor on film and television