Are You There God? It’s Me, Margaret finally hits the big screen, and Cinema Scholars is ready with our review of the long-awaited adaptation of the Judy Blume classic. Lionsgate will release the film in theaters nationwide on April 28, 2023.
Introduction
For girls growing up in the 70s and 80s, Judy Blume’s Are You There God? It’s Me, Margaret was like an instruction manual for navigating the mysteries of female adolescence. Though some elements of the book, initially published in 1970, were quickly dated, the central themes of the story remain universal. From religious conundrums to first kisses, Judy Blume tapped into that wild transition between childhood and adulting when the realization of life’s difficulties starts to sink in. Not to mention that this epiphany occurs alongside the most dramatic and awkward changes in the human body- puberty.
For legions of Gen X women, Are You There God? It’s Me, Margaret remains an important cultural touchstone as well as a sentimental treasure. Surprisingly to no one, it took until 2023 for such a candid story about deodorant, periods, and boobs to hit the big screen. Adored for over 50 years, the film adaptation of Are You There God? It’s Me Margaret is finally here, and it remains amazingly true to its original form.
This begs more than one question… Are scandalous themes from 1970 still relevant today? Is the film for nostalgia-seeking Gen Xers? Or will the tone and subject matter still resonate with Gen Alpha sisters currently going through the motions? And does the sweet awkwardness of adolescence transcend generational differences? Whatever meaning the film takes on for different viewers, screenwriter/director Kelly Fremon Craig (who nailed the teen dramedy The Edge Of Seventeen) does Judy Blume’s beloved preteen tome justice with her hilarious and heartwarming adaptation of Are You There God? It’s Me, Margaret.
Synopsis
The film begins as Margaret wraps up the final halcyon days of summer camp to return to her family home in NYC. Soon, however, the eleven-year-old learns that her dad’s big promotion at work means a new life in the suburbs. Before the city girl has a chance to worry about making friends, neighborhood diva, Nancy, takes Margaret under her mature wing. From here, Margaret is quickly indoctrinated into a new world where bras, boys, and boobs matter utmost. Where coed birthdays lead to games of spin the bottle, and merciless rumors about innocent early-bloomers go unchecked.
On top of all the pubescent intrigue, Margaret contends with a much more serious quandary. Her estranged Christian grandparents won’t accept their daughter’s marriage to a Jewish man. While Margaret enjoys an extremely close relationship with her paternal grandmother, she has never met her mother’s parents. As this part of the narrative develops along with the shift to womanhood, Margaret makes important revelations about herself and her loved ones. All while pondering her relationship with God.
Discussion
Fortunately, Are You There God? It’s Me, Margaret stays true to the book as a nostalgic period piece (pun intended?) perfectly void of any modern influence. Because no matter how much the world has changed between 1970 and now, many universal themes of adolescence still hold. Girls today may not don frocks and loafers for school anymore like Margaret and her friends, but you better believe they still fret just the same about the garments worn underneath. And the girl talks about classmate crushes and potential first kisses that will never go out of style. The story even tackles bullying and body shaming- sadly, a phenomenon that hasn’t improved much in 50+ years.
As Margaret navigates these rites of passage and more, Fremon Craig perfectly illustrates that even though the times may change, the core issues of growing up remain the same. In this spirit, the film becomes more of a bonding experience for all generations and not just for middle-agers getting their nostalgia on. And even though newfound sexuality is still a subject difficult to broach, like Blume, Fremon Craig’s frank yet gentle depiction reminds everyone that it’s all very normal.
In addition to cringe-worthy episodes of youth, a good portion of the narrative is dedicated to questions about religion in Are You There God? It’s Me, Margaret. After all, God is in the title. No, a Catholic woman marrying a Jewish man isn’t considered as scandalous today as it once was. But Margaret’s conversations with God while on a search for her spirituality are as unexpectedly profound today as it was in 1970.
Also unexpected? The generous fun poked at each of Margaret’s attempts to try on different religious denominations with friends and family. These fun sequences mixed with the more heavy religious quandaries of interfaith marriage in the 70s are another reminder of Blume’s (and now Fremon Craig’s) influence on legions of freethinkers finding their own way to talk to God.
Performances
As the titular (teehee) character, Abby Ryder Fortson channels Margaret’s angst with heartbreaking earnestness. With zero snark, side eye, or other contemporary affectation, the talented young actress sweetly conveys her character’s good nature in the face of massive change and complex conflict. It’s no surprise considering Fortson has spent the majority of her life honing her skills on the sets of Hollywood blockbusters and indie films alike. Bringing such a famed character to life is a tall order for a performer of any age. Fortson’s care and innocence in her performance are exceedingly worthy in its heartbreaking effectiveness.
Bringing her usual radiant warmth to the screen, Rachel McAdams shines as Margaret’s mom Barbara. Her easy breezy take on the hippy-ish momma bear is the perfect antidote to her daughter’s near-constant angst. As Barbara’s separate narrative thread finding her place among the more traditional stay-at-home moms takes shape, McAdams gets to join in on some catty fun. In more serious moments though, it’s her intense authenticity that carries the borderline melodrama or clunky transitions into adulthood.
In the “I never see them like this” category, both Benny Safdie and Kathy Bates play against type as mother and son with lovely effect. Though Safdie doesn’t have a great deal to do as Margaret’s dad, Herb, his wholesome demeanor and stable father figure grounds the untraditional family as well as the story. Known mainly for darker roles, fans will surely be delighted by the good-hearted joy Safdie brings to the film. Yet another reminder of the actor’s contagious energy, no matter the mood.
Likewise, it’s a blast to see Baker dazzle as Herb’s doting mother Sylvia. Thankfully, her character also enjoys a sub-narrative, so we get a bit more of Bates looking and acting fabulous. A breath of fresh air when compared to her impressive, but challenging character work. Bates embraces Sylvia’s unconditional love and support with convincing glee as she helps glide her beloved granddaughter over some of life’s bigger bumps.
Special note goes to Elle Graham as the original mean girl prototype, Nancy. As her character arc proves to be much more complex than the modern moniker, Graham’s portrayal hints at Nancy’s sharp learning curve and unspoken anxiety. Plus, she’s so great at being a bossy tweenage girl. It’s a strange delight to witness the leader of the pack coax her friends into following her constant lead. As Nancy persuades the girls into revealing secrets or acting a certain way, it’s Graham who convinces the audience that such a thing is possible with her confident and compelling delivery.
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