In the realm of American cinema, there are performances that transcend mere acting to become iconic testaments to an actor’s craft and dedication. June Squibb, at 94, delivers such a performance in Josh Margolin’s “Thelma,” a sentimental comedy that stands as a tribute to her remarkable career. Known for her supporting roles in films like “The Age Of Innocence,” “Far From Heaven,” and “About Schmidt,” Squibb gained broader recognition with an Oscar nomination for her role in Alexander Payne’s “Nebraska.” In “Thelma,” she finally steps into the spotlight with her first leading role, proving that talent truly knows no age.
Margolin’s film, inspired by his own grandmother, is a heartwarming and humorous story that offers Squibb a platform to showcase her exceptional range. She plays Thelma, a widow living independently but under the watchful eye of her grandson Danny, portrayed by Fred Hechinger. Danny, a lovable slacker struggling to find meaningful employment, forms a touching if somewhat dysfunctional relationship with Thelma. Their dynamic becomes the emotional core of the film, grounding its more outlandish comedic elements in genuine affection.
The plot kicks into high gear when Thelma falls victim to a phone scam, losing $10,000. Rather than accept this setback passively, she embarks on a quest to retrieve her money, a journey that sees her borrowing a mobility scooter from a gentleman admirer and even arming herself with a gun. This setup could easily veer into farce, but Squibb’s performance keeps it rooted in a delightful blend of tenacity and vulnerability. Her portrayal of Thelma is a masterclass in comic timing and emotional depth, making her character both larger-than-life and relatably human.
Richard Roundtree, in one of his final performances, delivers a standout turn as Thelma’s admirer, adding a layer of charming support to Squibb’s tour de force. The supporting cast, including Parker Posey, Clark Gregg, and Malcolm McDowell, also contribute commendable performances, though they are somewhat underutilized due to the script’s primary focus on Thelma and Danny. Margolin’s script, while consistently funny and poignant, occasionally falters in its handling of secondary characters and subplots. Danny’s character, clearly a stand-in for Margolin himself, lacks depth, particularly in his personal struggles and romantic endeavors. This two-dimensional portrayal is a missed opportunity to add more layers to the narrative, making some aspects of the film feel less substantial than they could have been.
Nevertheless, the film’s strengths far outweigh its weaknesses. The interplay between Squibb and Hechinger is delightful, and the humor, while sometimes bordering on saccharine, is delivered with a sincerity that makes it hard to resist. The movie’s feel-good nature, bolstered by a script that balances lighthearted moments with genuine pathos, ensures that it resonates with audiences. “Thelma” is quintessential Sundance fare: sentimental, quirky, and ingratiatingly likable. It fits comfortably within the festival’s tradition of showcasing films that blend humor and heart. While it may not push the boundaries of cinema, it excels as a vehicle for Squibb’s immense talent and as a heartfelt narrative inspired by real-life experiences.
The film’s conclusion, featuring a touching video of Margolin’s own grandmother, underscores the personal connection driving this project. It is this sincerity, coupled with Squibb’s magnetic performance, that elevates “Thelma” from a simple comedy to a memorable cinematic experience. In a film industry often dismissive of women over 40, let alone over 90, “Thelma” stands as a testament to the enduring power of talent and the importance of stories about the elderly. In “Thelma,” June Squibb not only proves that she is deserving of American-national-treasure status but also reaffirms her place in the pantheon of great character actors. Her performance is a celebration of resilience, humor, and the undiminished spirit of an artist who continues to shine brightly, regardless of age.
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