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<\/p>\nWhere 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 \u201csequel-itis\u201d, 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\u2019s terrific Thelma.<\/p>\n
Thelma is Margolin\u2019s 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\u2019s heart. His genuine affection for his characters shines through; aided by some wonderful performances.<\/p>\n
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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. \u201cDaniel\u201d hands the phone to his \u201cattorney\u201d who says Thelma needs to send him $10,000 in cash to secure Daniel\u2019s 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.<\/p>\n
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\u2019t entirely social. Thelma wants to borrow Ben’s mobility scooter to get to the scammers\u2019 address. Ben won’t agree but Thelma won\u2019t take no for an answer and steals the scooter. She gives Ben an ultimatum – she\u2019s going to take the scooter, and he can come with her, or she\u2019ll go alone. Reluctantly, he decides to go with her. So this unlikely pair of nonagenarians set out across Los Angeles to get Thelma\u2019s money back.<\/p>\n
The idea of a slow road movie has been done before – David Lynch\u2019s The Straight Story and Alexander Payne\u2019s 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).<\/p>\n
The script tiptoes a fine line between comedy and pathos. While Margolin includes scenes in which the older characters deliver comic moments, they\u2019re never cruel or demeaning. Indeed, if anyone needs help in the film, it\u2019s probably Daniel, whose shiftless existence is contrasted with Thelma\u2019s 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.<\/p>\n