Films often attempt to address timely and sensitive issues. For such films to be successful, the plot lines must be credible, and unfortunately that is not always the case.
The movie Thelma addresses difficulties experienced by many elderly people. As such, it starts with a convincing portrait of the title character, played bravely and embracingly by June Squibb. She is attempting to cope with the challenge of using a computer and, even more significantly, being scammed by some crooks posing as her grandson and claiming to need money to bail him out of jail. So far, so good. However, inspired by a reference to Mission Impossible, Thelma undertakes her own impossible mission.
This is the problem. The Mission Impossible films take place in their own universe, one in which the wildly improbable is not only part of the fun, but also to be expected. In Thelma’s world, the ludicrously unlikely simply undercuts the message.
So it is that the geriatric heroine, having managed to gain the address to which she sent the money, determines to retrieve it herself rather than going to the police. Ignoring the fact most crooks do not leave a valid forwarding address, the film that follows is totally at odds with the promisingly realistic opening. Thelma visits a friend, Ben (Richard Roundtree in his last role), commandeers his electric scooter (though there is no indication that she has ever operated one before), and the two set off to confront the crooks.
They are met with a number of increasingly unlikely challenges. For example, Thelma determines to visit a friend whom she believes owns a gun. She sneaks into the friend’s bedroom and searches through drawers and boxes and finds a gun—though why she thinks the gun is thus hidden is never explained, nor is there any indication that she has ever used a gun, though eventually and inevitably she does. The plot unfolds with ever more and more incredible developments until it reaches its improbable climax.
All of this is unfortunate as the film does touch on a number of real issues: a grandmother urging her irresponsible grandson to mature, seniors dealing with the deaths of their friends, and the physical challenges of old age.
At a time when many are living longer than was once normal, it is understandable films should address the difficulties experienced by the elderly. That this can be done dramatically and convincingly is well illustrated by such films as The Father or comically as in The Great Escaper. Unfortunately Thelma, despite its apparent good intentions, fails to do so. It is a lost opportunity.
Equally disappointing and for similar reasons is Ghostlight. Here again is a film that touches on a number of realistic concerns as it shows a family attempting to deal with grief, parents failing to communicate, and a daughter acting as an obnoxious rebel (though her rebellion is later explained). What defies explanation is the means by which this family finds its way to redemption.
We are asked to believe that the angry father stumbles his way into a small group of quite elderly people who are planning to put on a performance of Romeo and Juliet— that’s right, not Lear or Macbeth, but the story of teenaged star-crossed lovers. Even more unlikely is the plot development in which the the father not only joins the group, but takes on the role of Romeo.
As one follows his journey to the stage, improbability follows improbability. It seems highly unlikely that an angry construction worker, labouring as he is under the weight of family division, would agree to participate in any theatrical production, let alone Shakespeare. That he takes on the role of a young lover is even more improbable, especially as we never see him learning lines and rehearsal times are decidedly limited and seem largely to be taken up with acting games.
Though there are only half a dozen cast members, they somehow cobble together a production. When the performance finally takes place, in a few days they manage to build sets, create costumes, and with only one dress rehearsal, contrive to move their production from a small in-the-round acting area to a traditional stage. It defies belief and one wonders if the writers and directors have ever actually been involved in the production of a play. However, the writers seem to like theatre as, of all things, songs from Oklahoma! are given prominence. One wonders: why?
As with Thelma, Ghostlight attempts to deal with real and timely issues, especially those arising from grief and loss—but all of this is buried under a totally unbelievable story line. The cast give it their all. Keith Kupfeer and Katherine Kupferer are especially to be praised for their portrayal of the father and daughter in the film. In a different story, they would have made these issues far more relevant. Sadly, their efforts serve only to remind viewers of what they could have done in a more convincing scenario.
In fairness, as a closing note, I must admit to being in a critical minority as both Thelma and Ghostlight have received very positive reviews by other critics. Once again, I seem to be in a minority of one. So why not view them both and judge for yourself?
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