Review
Culture
Film & TV
3 min read

A child’s lesson on how to grow up

Looking beyond the bravado-fuelled adolescent friendships, Lauren Windle reviews Are You There God? It’s Me, Margaret. She finds vulnerability, audacity and intention.

Lauren Windle is an author, journalist, presenter and public speaker.

A mother and child, wearing 70s clothing, look to the left.
Rachel McAdams and Abby Ryder Fortson.
Gracie Films.

You couldn’t pay me to be an 11-year-old girl again. There is no amount of money that would convince me to re-subject myself to the confusion, self-consciousness and awkwardness of my pre-teen and teenage years. But sitting in the Regents Street Cinema watching a midday screening of the film adaptation of Judy Blume’s popular book Are You There God? It’s Me, Margaret, it was 1999 again. I felt like I was rolling up my school skirt like the older girls and Sam Eavis had just skateboarded past setting my tummy fluttering.  

Margaret is a 1970s year-six pupil (Abby Ryder Fortson) who moved from New York City to New Jersey with her mum (Rachel McAdams) and dad (Benny Safdie). As with any 11-year-old, she failed to see the absolute joy in not worrying about romantic relationships, financial hardship and gainful employment. Instead, she strived to grow up as fast as she possibly could. But faced with bad friends, boy trouble, changing hormones and a feuding family, Margret turned to God for guidance as she navigated the complex new stage. 

Margret accompanied her milestones with admirably honest prayers to God, asking for guidance, reprieve, support and protection for her family. 

Margaret and her friends moved through the usual rites of passage for a schoolgirl in their sprint to maturity. They obsessed about their first kiss with a boy, starting their periods, getting their first bra, being able to fill out the undergarment, gossiping and bitching between friends and desperately trying to fit in. But, unlike me, Margret accompanied her milestones with admirably honest prayers to God, asking for guidance, reprieve, support and protection for her family. 

I felt pleased for Margaret. Not because she was navigating these challenges like a pro. She was doing as well as any us (read: poorly). I was pleased for her because she felt comfortable to loop God in. I never prayed about a boy I fancied or petitioned God to start my period. As a teenager, I was convinced the messy practicalities of life didn’t have a place in the Church and I would certainly never bring them up in prayer. I stuck to the simple formula of sorry, thank you and please. All subjects were highly palatable, like my grades at school or family outings. 

Angst-riddled Margret however, learned something that I only picked up on years later when I came back to faith at 25; God cares about the details. We can be so caught up in presenting our best to Him that we forget he’s seen it all anyway. We may want a better sex life or bigger boobs or for someone to be attracted to us, but we wouldn’t pray for it. It’s too embarrassing. Not for Margret – from how she was getting on with her friends to the size of her bra, nothing was off limits in her prayers. There’s a lesson there for us.  

Margret wasn’t raised in a church or subscribing to any religion. Her mum (a Christian) was shunned by her family when she announced that she would be marrying her dad (a Jew). The subsequent pain meant that they decided to raise their daughter without any religious affiliation and let her choose for herself. When she started her first prayer Margaret opened with:  

“I’ve heard a lot of great things about you.”  

When she was desperate to be accepted in her peer group she cried out:  

“Let me just be normal and regular like everybody else.” 

 When she felt lonely, she called out and asked God where he was and when she thought he may not exist, even then she took her frustrations to God, crying out in prayer:  

“I’ve prayed and prayed and everything just gets worse. Maybe the truth is there’s nobody out there. There’s nobody listening. It’s just me.” 

It's the vulnerability, audacity and intentionality of her honesty that takes Margaret leaps and bounds further in her search for faith. That’s a level of transparency with God that I lacked in my youth, and at times in my adult life. The fact that Margaret hadn’t been to church ironically freed her up to approach God in a refreshing, childlike way. She didn’t have any of the pomp and ceremony of religion. Rather she just came to her creator and started talking, like a child to her father.  

So, what can we learn from Margaret’s search for God? Several things. Stuffing your bra looks ridiculous. Adolescent friendships are solely fuelled by bravado. The fragility of pubescent womanhood is both a joy and agonising to watch. And we can talk to God anywhere, anytime, in any mood and about anything.  

Seems like we don’t need to go back to school to learn a thing or two after all.  

Review
Culture
Digital
Film & TV
Work
5 min read

Heaven can wait: the gig economy can’t

Good Fortune skewers modern work culture with a celestial twist

Giles is a writer and creative who hosts the God in Film podcast.

A film character talks to an angel in the street who has wings on the back of his coat.
Aziz Ansari and Keanu Reeves star.
Lionsgate.

Good Fortune sees a well-meaning but rather inept angel named Gabriel meddle in the lives of a struggling gig worker and a wealthy venture capitalist, with unpredictable results.  

The film follows Arj (Aziz Ansari), a frustrated documentary editor who is unable to get any steady employment and has been relegated to working in the gig economy, bowing and scraping to all app users for fear that they’ll give him a one-star review. Arj has resulted to sleeping in his car and is only one step away from being completely destitute. After a short trial period working as a personal assistant for bumbling millionaire Jeff (Seth Rogen) that ends badly, Arj reaches the end of his tether. Out of the blue, an angel named Gabriel (Keanu Reeves) appears to Arj, trying to show him that his life has meaning. In order to convince him, he swaps Arj’s life of poverty for Jeff’s of luxury in an attempt to show him that having money won't solve all his problems. But unfortunately for Gabriel, it does solve most of his problems, and Arj does not want to swap back.                                                    

Aziz Ansari writes and directs Good Fortune, making his directorial debut. Unfortunately, while this film may promise a lot, it sadly fails to deliver. The social commentary is on point, but the laughs are spaced very far apart. It manages to accurately diagnose the problems that society faces, namely that the gig economy created by big tech has taken us back to Victorian levels of economic uncertainty for many people. But the prognosis somehow seems to lack any punch when it’s finally delivered. Good Fortune feels like a mix of Trading Places, a cynical version of It’s a Wonderful Life, with a touch of the sitcom Superstore thrown in for good measure. It wears its influences on its sleeve, but never really coalesces into its own thing. The one area it does flex its muscles is the performances.  

Ansari’s Arj voices the frustration of a generation when he says, "I did everything I was supposed to do and nothing's working out”. It is quite enjoyable when Gabriel asks him if he has learned that being rich and privileged isn’t all it’s cracked up to be, and Arj vehemently disagrees. Rather than learning any particular moral lesson, Arj has simply learned that it’s much nicer to be depressed in a mansion than in a hovel.  

Seth Rogen has the hapless privileged idiot down to a science at this point; there’s something cathartic about him seeing how difficult it is for people trapped in the gig economy. “This is too hard,” he despairs, “How do people do this, without just being miserable and angry, all the time?”  

Perhaps predictably, the stand-out performance is Keanu Reeves as Gabriel. Far from being a serenely wise archangel in this iteration, Gabriel is, by his own admission, a bit of a “dumb-dumb”. The film opens with Gabriel feeling frustrated in his current role, stopping people from texting and driving at the last possible moment. Gabriel feels desperate to change the course of someone’s life for the better. Gabriel’s meddling in Arj and Jeff’s lives is not looked on fondly by Martha, his superior (played by Sandra Oh). She makes Gabriel human as a punishment, sending him on a journey of self-discovery.  

After the weighty self-importance of the John Wick franchise, it is thoroughly enjoyable to see Keanu shifting into comedy mode. His Gabriel has a touch of his Bill & Ted performance, making him a naïve idiot who lights up the screen every time he’s on it. Seeing him enjoy tacos, milkshakes and ‘chicken nuggies’, simple pleasures that are so easily taken for granted, brings some much-needed levity to a script that doesn’t always manage to rise.  

In a sense, Good Fortune writes itself into a corner and can’t quite figure out how to get out of it. It feels like there’s a lot of time floundering around for an answer, which is frustrating, even at a brisk run time of 98 minutes. If there is any area that feels under-served it’s the sub-plot with Elena (played by singer and actress Keke Palmer). Serving as the love-interest for Arj, Elena seems to be the only one clear-eyed enough to see that systemic oppression requires an organised response, and is in the halting process of forming a union. Elena is the only one able to talk any sense into Arj when she says: “I’d rather be back down there, trying to help more of us get up here”.  

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