Movie Review: "Grandma"

Grandma (2015)

R

4 Stars out of 5

Director                                Paul Weitz
Writer                                   Paul Weitz

Lily Tomlin                           Elle Reid, grandma
Julia Garner                         Sage, granddaughter
Marcia Gay Hardin             Judy, mother
Judy Greer                           Olivia, girlfriend
Sam Elliott                           Karl, former husband

 

The Bechdel test first appeared in a comic strip in 1985. It is a simple test that is failed about half the time by modern American movies: the test states that in a work of fiction, two women must speak to one another about something other than a man. To say that “Grandma” passes this test is somewhat demeaning to the movie and the test, but also both relevant and true. It’s demeaning to some extent as it seems to imply that the movie is narrow in scope (at least from a male’s perspective); it is certainly true about the movie, there are but two males in “Grandma” and while important in their individual ways, they really are not the point. No, the point of this movie and the reason the Bechdel test is a relevant point to be made about the movie is that the titular subject of the movie, Grandma (Lilly Tomlin) is a kind of foil to introduce a wide range of subjects: family relations, lifestyles from the 60’s, sexual orientation, abortion, and really the main point: the choices we make and their consequences.

Elle Reid is a somewhat successful poet and part-time academic nearing the end of her career. As the movie opens, she is breaking off an intimate relationship with one of her young admirers, Olivia (Judy Greer). Tomlin makes it perfectly clear during this scene that she is a woman that says what she wants to say, but equally clear that she is not saying everything that she feels about Olivia. That she says she does not mind the break-up is abundantly clear in the harsh words and apparent disinterest she feels for Olivia’s feelings; that it is all an act is made quietly clear when she later sobs alone in the shower. Following her shower, she mourns alone in her living room; she is dressed in her professorial robes and staring at mementos from her long relationship with her previous partner, Violet. Evidence of Violet’s absence will be felt by Elle and her progeny throughout the movie. As she sits there musing, her granddaughter, Sage knocks at the door.

Sage is in trouble. She’s eighteen and pregnant with the child of her boyfriend. That he is immature and useless will soon be made clear. Sage’s immediate problem and the reason she came to her grandma is that she needs $650 to cover the cost of an abortion. The next problem is, Elle doesn’t have the money and she has cut up her credit cards to make a mobile for her porch. Thus ensues a kind of road trip wherein Elle and Sage get to know one another. Their road trip will take them in Lily Tomlin’s own 1955 Dodge. This car stood out for me as an anomaly in an otherwise very well written film to this point. It seemed far too cutesy: see the cranky old woman and her equally cranky old car. That the car’s crankiness would be significant in a couple of minor plot points only irritated me the more. (However, I learned later it was Tomlin’s car; so, maybe it is just writer/director Paul Weitz’ personal nod to his star.) Elle would soon learn what a loser Sage’s boyfriend is as they first approach him for money. The exchange between Elle and the boyfriend (I shall leave him nameless as my own nod to his vacuous nature) will serve to again highlight Elle’s aggressive, take no prisoners attitude. More to the point it will illustrate vividly during the face to face exchange in and in a following conversation that while the male plays a role in the situation, the heaviest burden obviously falls upon the female.

After a couple of inconsequential visits to others seeking money and not getting it, the film takes an unexpected but very satisfying left turn. Elle has made a surreptitious call to her former husband, Karl (Sam Elliott). Both the call and the existence of her grandmother’s relationship to Karl were unknown to Sage. She like her mother had grown up in the warm embrace of Violet and the shadow of Elle’s temperament; that there was a man/sperm donor in Elle’s history was presumed due to Sage’s mother’s birth, but who he was, was unknown to all but Elle. It turns out not to be Karl. Karl is a wonderful protagonist to Elle as the antagonist; and is delightfully played by Elliott. The movie’s best moments come with the scenes involving Elle and Karl. We learn that Elle’s harshness and self-centered approach to life began long ago and left a lasting mark on Karl. She chose to leave him and to so without a good-bye let alone an explanation or apology. Elle further hurt Karl by making a unilateral decision to abort a baby she carried from her relationship with Karl. Sure, as with Sage, Elle had the greater burden to bear than the father, but unlike Sage who sought her boyfriend’s input and help (and failed to get it), Elle left Karl out of the decision or even the awareness of a baby. Such choices by Elle were hard and they too carried a burden; this one borne by mother and father alike.

Karl will refuse to help once he learns the purpose of the money Elle seeks from him. Elle and Sage will now (somewhat predictably) be forced to go to Sage’s high-powered businesswoman/mother, Judy (Marcia Gay Hardin). Hardin will like Tomlin perform her role at an outstanding level. Judy is in CHARGE of her life and she thought of Sage’s. Her reaction of anger and frustration over Sage’s pregnancy seem more rooted in the fact that Sage was not in Judy’s control after (she states on several occasions) that she, Judy, had straightened Sage out. This complete lack of self-awareness stands so beautifully in contrast to her sense of empowerment; it is a remarkably clear portrayal and well written character.

A part of the intrinsic Woman-centered theme in this movie was revealed just prior to the meeting with Judy as Elle explains that the man, the “father” in the procreation that led to Judy was just some passing flame of Elle’s following her abandonment from Karl. She discusses the similar nature of Sage’s origins when it is revealed that artificial insemination from an unknown donor led to Sage. This may have met Judy’s need for a relation-free pregnancy, but failed Sage’s need for a father, or even any knowledge of who that donor “father” was. Again, these stories of absentee father figures align with the movie’s central theme of choices by one person leading to consequences for another.

“Grandma” seems at first glance and throughout the early stages of the movie to be merely a three generation story of three women getting to know each other better. It seems to be under-laid with the sub-text of abortion and is spiced up with some pretty salty humor and crankiness from the aged, still living in the 60’s Elle. But it is in fact more. Here is a short movie made on a thin budget that manages to explore several areas that all have in common one central theme: one may be free to make choices that meet your immediate needs, but all too often those around who must suffer the consequences. For example, Sage has no father and clearly would have liked to know one; Judy also had no father and may or may not have been positively affected by a strong paternal influence such as Karl; Olivia might have wanted to stay and love Elle despite the late reveal that Elle wanted her to seek out someone of her own generation. These choices made by Elle or any of the others in this film might well be appropriate decisions for the times and for the person making the choice, and had some two way communication between some of the others affected by those choices been effected, then all of these choices might have had happier outcomes.

These may not be deep thoughts, they may not be hard for anyone to puzzle out, and yet how often does just about anyone in daily life act the same? “Grandma” is a short movie, and its central themes are easily understood, but you put them together with the great acting of Tomlin, Elliott and Hardin, and the direction of Paul Weitz, and you get a very nice movie in the end. It is your choice to watch or not watch this movie: I recommend, watch it.