For those lucky enough to have or have had a grandmother like Thelma (June Squibb), Josh Margolin's wondrous directorial debut will hit the mark in the most comedic and heartwarming ways. Even for those who don't, Thelma will still draw them in with its glorious mix of absurd, classical humour and highwire tension. In addition to the humour and thrills, and perhaps above all else, Thelma glows with a warm tone; every aspect is cosy and welcoming, feeding directly into Squibb's titular 93-year-old, who is an uncanny depiction of so many elderly people around the world.
The setup is relatively simple: Thelma, a retired widow living independently, is scammed for $10,000, thus setting her off on a journey of retribution. In the wrong hands, it may well have been shallow or overly farcical, but under Margolin, the genius concept takes flight. Thelma is, all at once, an espionage thriller, a sweet tale about growing old, and a zippy comedy full of one-liners and recurring jokes. With the help of her loving grandson Danny (a superb Fred Hechinger) and friend Ben (Richard Roundtree, more than an equal for Squibb), Thelma embarks on this hectic journey of great surprises.
Squibb's first film role came at 61 years old in 1990 with Alice, and it was only in the 2010s that she enjoyed more widespread attention, garnering an Oscar nomination for her supporting role in Nebraska (2013). Now 94, Squibb plays her first leading role in Thelma—and it is one of the year's best. Loosely based on Margolin's own grandmother, Thelma is a brilliant character, with a quick wit and fresh mind, even when some things, like computers, prove tricky. Squibb is the perfect fit for Thelma, and the chemistry she shares with Hechinger is one of the main reasons for the film's success.
The blend of more serious aspects, such as ageing, with dynamite comedy is greatly aided by Margolin's editing and Nick Chuba's original score. The former switches in pace seamlessly, from sombre to swift and nifty in the blink of an eye, whilst Chuba's score sparkles in the background, adding to the rich farce of the situations Thelma finds herself in, such as when she steals a gun or a mobility scooter. Thelma really is something along the lines of a Michael Mann crime thriller at times, just with elderly people who move slower than usually fleet-footed criminals.
Thelma loses a little steam in its latter stages, but quickly draws things back for a focussed and emotional finale. Margolin's film isn't just a hilarious crowdpleaser either (although it is extremely funny); it is also an admirable portrayal of growing old, not excessively leaning into the difficulties of ageing but also not shying away from them. Independence is something we will all begin to lose grip of at some point, and in Thelma, it is something to be cherished for as long as possible. Margolin's film is one of acceptance, a comforting reference and a sweet ode to his own experiences, summed up perfectly at the end by an unforgettable quote from his grandmother about trees.
Thelma releases in UK cinemas on July 19.
