Every mention of Lily Tomlin is preceded by “the incomparable” because it’s a universal truth, but the famed American comedian has been a rare sight on the big screen in recent years, featuring primarily in supporting roles in TV series like Web Therapy and Malibu Country. Thankfully that drought is over, with not only her new Netflix series Grace and Frankie bringing the laughs and giving her a rare co-headline role, but now we can also enjoy her starring turn in Grandma, where she plays Elle Reid, a character who one might assume to be an exaggerated, grumpier version of herself. And the result is a hilarious, heart warming road trip film, directed and written by Paul Weitz.
Weitz has had an interesting career as a director. His last feature, Admission, starring Tina Fey and Paul Rudd (as well as Tomlin in a supporting role), never really went anywhere, nor did the preceding Being Flynn – though both have since been referred to as “underrated”. And I’m sure Weitz would like us all to forget the cash in Little Fockers that preceded it. But this is a man who brought us American Pie and About a Boy, iconic films that created one of the most successful teen film franchises of all time and the other, spurring a TV series, the career of Nicholas Hoult and a film which is widely regarded as one of Hugh Grant’s finest – as well as being one of the stand outs of the genre from that period. So we know the man can get it done. And with Grandma, it seems that Weitz has hit his stride once again.
The key here was keeping it simple. The film captures a rather dramatic day in the life of Tomlin, an ageing lesbian who once had a splattering of success as a poet. Following the relatively recent death of her long term partner (possible wife – they never delve into that side of things), she had a brief romantic fling with Olivia (Judy Greer), the break up with whom starts off the film. Immediately we’re introduced to Elle as a rather selfish, mean spirited being – though in typical Tomlin fashion, she can’t help but be hilarious.
Then enters Tomlin’s granddaughter, Sage (Julia Garner), who is looking for money for an already scheduled abortion. Being broke and without credit cards (I won’t spoil that moment), the two set off on a road trip around Southern California as Elle tries to call in old debts to help out her granddaughter without alerting Sage’s mother to the situation. Along the way we meet old lovers from both parties, learn a little too much about the dangers of silicone implants, the frustrations of a coffee employee (in a brief turn from John Cho) and get to know both characters as they learn more about each other.
The film is fronted by a funny script, but it feels like it would have been impossible without Tomlin in the lead role. I don’t think anyone else could have played the part. She delivers each line with such a careful balance of heart, humour and hard-arsed attitude that you have to assume the film was written for her, while at the same recognising her absolute brilliance. The supporting cast, from Tomlin’s granddaughter to daughter (Marcia Gay Harden), lover Judy Greer and a surprising appearance from Sam Elliott, all shine – but let’s not beat around the proverbial bush. This is Tomlin’s film.
Weitz doesn’t go for any fancy filmmaking here, and he doesn’t preach. Abortion, as well as long term same sex relationships are as hot blooded an issue as they ever have been, and while he shines light on both, he treats the situation as a human one – not as an issue that has to be argued about when the reality of a situation exists. Some may end up trying to argue he could have done more with the film to highlight either case, but I think that would have changed the film, and any criticism would be misguided. By treating this as the story of two humans, dealing with a situation – rather than two people trying to live against the system – he has achieved what may have been otherwise difficult to accomplish: a beautiful film.
The music by Joel P. West sounds like a mesh of Andrew Bird and Sufjan Stevens – in instrumental form – which seems to indicate the pitch for the score was something along the lines of “make this like Little Miss Sunshine” – but that works well. A closing track from Angus and Julia Stone is a nice touch too. And both the editing and the cinematography, though never shouting for attention, serves the film well at a solid pace (at only 78 minutes it races by) while keeping the film looking pristine throughout.
Grandma is a lovely film, about family, the realities of life (especially when 18) and how the decisions you make never really leave your side. It’s a simple film, but a layered and in some ways, an important one, that treats two people who have made decisions that some deem “controversial” as nothing more than what they are: human beings. Flawed but fabulous in every way. And in the case of Tomlin: absolutely hilarious.
Review Score: FOUR STARS (OUT OF FIVE)
Running Time: 78 Minutes
Distributor: Sony Pictures Classic
Grandma had its first screening yesterday at the Sydney Film Festival and will play once more on the 8th of June. Details are available HERE.
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