Marc Turtletaub (Puzzle) directs Gavin Steckler’s script about Milton (Ben Kingsley), a somewhat pathetic retiree living a quiet life in a small Pennsylvania town, when a UFO and its extraterrestrial pilot crash-land in his backyard. (90 min.)
Glen What would you do if a flying saucer crashed in your backyard? Call 911, probably, right? But what if the 911 operator dismissed you as a crank? And what if your daughter, Denise (Zoe Winter), was unreachable, and even if she was available, she thinks you’re in the early stages of dementia and won’t believe you either? In a nutshell, that’s Milton’s predicament. He was living a wholly uneventful and lonely life. Every week, he’d turn up at the city council meetings to advocate for a change in the town’s motto and a new crosswalk, and the council members would listen politely and roll their eyes. Milton eventually finds collaborators in fellow gadflies Sandy (a wonderful Harriet Sansom Harris) and Joyce (a fierce Jane Curtin), two lonely women and city council meeting regulars, who discover Milton’s not so secret “secret” and the little gray man Sandy names Jules (Jade Quon). They know from movies what happens to these extraterrestrials, and the trio is determined to help Jules as he repairs his ship.
Anna There is something special about Jules. While he can’t communicate verbally, he seems to have an empathetic presence, and the three humans that surround him can’t seem to help but open up and share their greatest moments, biggest fears, and untold grievances. Joyce, Milton, and Sandy all share the fact that they are lonely and all cope in their own ways. Sandy is all about creating community, whether it be through a town art project or setting up a mentor program between younger and older citizens. She’s constantly on the hunt for connection and she finds it easily with Jules, who she immediately starts to mother. Milton is all about routine, and while it may come off that he just wants to be left alone, what we learn is this is a protective shell he has created instead of facing the realities of his growing forgetfulness. Joyce inserts herself, loudly demanding inclusion. While the three seem to be ill-fated friends, little Jules is their shared purpose.
Glen Jules is like a blank slate for the others to pour their emotions onto, and at its center, this is a story about human emotions, which contrasted to Jules’ calm and placid presence seem so incredibly messy and out of control. There’s a moment when Joyce, who clearly lives in her heyday past, sings for Jules, who she calls “Gary” because she things he looks more like a Gary than a Jules, and Curtin delivers a truly potent performance. In another scene, Sandy embraces Jules in tears, and it’s deeply and earthshakingly emotional. And, my god, Kingsley is a treasure. He disappears into Milton—his walk, accent, and mannerisms. All these performances are remarkable, and the sweet, funny, emotive story drives home the importance of human connection for a full and happy life.
Anna I quite literally forgot that it was Kingsley we were watching—you’re right when you say he disappears into Milton. He is confronted with the end of his life and what that looks like if he slips further into dementia. For now, it’s little things, like putting a newspaper in the freezer or forgetting why he walked into a room. But Milton’s denial doesn’t make Denise feel any better, and she prods around the possibilities of what to do when his condition worsens. Jules is a very human tale that quietly reminds us of the power that lies in connection, in community, and in feeling heard and understood. I laughed, I cried, and I fell a little in love with everyone on the screen. I hope the Palm Theatre has a strong turnout for this film; it deserves it. Δ
Senior Staff Writer Glen Starkey and freelancer Anna Starkey write Split Screen. Glen compiles listings. Comment at gstarkey@newtimesslo.com.
This article appears in Aug 17-27, 2023.