Grandma

Grandma is a small movie by almost any reasonable definition: tiny cast, low budget, brief in both time frame and running time.  But it’s so fearless in tackling big issues that it dwarfs much larger films and their self-conscious attempts to impart some worthy message.  What’s more, it does so with endless humour and a lightness of touch.

The film wears its politics lightly, essentially saying some people are gay, some have abortions, get over it, and that’s a welcome alternative to the usual handwringing.  Its humour comes mainly from the culture clash between Elle’s intellectual strain of hippy-tinged liberalism and her granddaughter’s youthful outlook.  But this is not overly concerned with generational conflict except in that both are terrified of Elle’s high-powered adult daughter, Judy (Marcia Gay Harden).  Here, growing old doesn’t necessarily mean that one ever feels grown-up.

The result is easily Paul Weitz’ best film since About A Boy, and may be even tighter and smarter than that (though it’s a little less funny).  But it’s Tomlin who really makes it sing, snarling in fury but revealing unexpected vulnerability and kindness too.  Acerbic, unexpected and quietly heart-warming without ever approaching sappy, this takes a no-nonsense approach to big issues, life, love and ageing, and never feels heavy-handed.  We should all be so lucky in our grandmothers.