It is safe to assume that anyone who grew up attending Anglophone schools would have likely encountered the work of Judy Blume, who has remained the gold standard for children’s fiction for decades and continues to maintain a level of respect that is matched by very few of her peers. Perhaps her most well-known work is Are You There God It’s Me, Margaret., which tells the story of a precious twelve-year-old growing up in the early 1970s, balancing domestic challenges and her inner turmoil caused by an existential crisis that has her questioning her own identity. Despite its popularity, Blume resisted any offers to have this book translated to the screen, for several reasons that make sense when we consider how a film adaptation may not be able to capture the necessary nuances embedded in the text. The author’s hesitations seemed to thaw when the idea of having Kelly Fremon Craig helm an adaptation, with the guidance of James L. Brooks, whose status as one of the more consistent producers in Hollywood offered some sense of security. Craig herself was an exceptional choice to direct the film since she proved with The Edge of Seventeen that she is a major young talent, and one of the most exciting young voices in contemporary American cinema, someone with a firm vision and sincere set of skills that makes her extremely appropriate for this material. Deeply funny and unquestionably heartfelt, Are You There God It’s Me, Margaret. is a truly delightful film that delivers exactly what it promises, and rarely does anything that is not entirely necessary, each decision being in service of not only this novel (which many consider a sacrosanct text in terms of formative literature) but also the major themes that are represented within it, which run the gamut of emotions, moving from outrageously funny to deeply tender, never being anything less than thoroughly resonant in all instances. It may not be the easiest novel to adapt, but Craig is a terrific filmmaker and someone whose concise and meaningful attention to detail was put to exceptionally good use in this terrific adaptation.

For as long as stories have been told, there have been tales of childhood in some form or another. There is something truly compelling about relaying the mental and physical journey one takes when transitioning between stages of life, learning many important lessons and encountering new challenges, the overcoming of which represents some form of a rite of passage. Are You There God It’s Me, Margaret. is drawn from this tradition, much like the majority of Blume’s work, which represents a sincere love for telling these stories in a way that is accessible to younger readers, being distinctively endearing and never coming across as overwrought or intimidating, which is an important element that children’s authors often neglect. This was twice as important with this story since it looks at some very important themes that can be terrifying for those without the mental readiness to take on these challenges. Whether it is looking at the titular character’s journey through the early stages of puberty, to the broader forms of maturing like questioning one’s identity (in this case rendered as a constant oscillation between religious faiths, which is not an easy experience for those who grew up in a multi-faith household) and realizing that your parents are not only imperfect but are only slightly more experienced, their journey is just as ongoing as our young protagonist. These are all elements that Blume wove into her original novel, and which she gleefully hands over to Craig, who crafts an enchanting and deeply sentimental story of Margaret’s experiences making her way through these formative moments of her journey to adulthood, one that may be tumultuous and filled with what appear to be perilous moments, which are in reality just important obstacles that have to be overcome, even if they appear insurmountable. There are several fascinating elements that are brought to this film by Craig, whose devotion to this material shines through, proving that she had a genuine fondness for the source text, working hard to bring out many of its most compelling ideas, which are tenderly peppered throughout this film, which is as delightful as it is heartfelt, a combination that helps instil a sense of comfort and pure joy in the viewer, who will always find something of value in this ambitious and bittersweet comedy.

However, it is important to not only view a film like Are You There God It’s Me, Margaret. from the surface, but also take notice of the slightly deeper themes that underpin this story, which is just as prominent as the rest of the narrative, perhaps carrying even more meaning. This is not simply a straightforward coming-of-age story, but a resounding examination of not only a girl growing into her identity as a young woman but the relationships she forms along the way, which are all integral to her development – whether the tumultuous relationship she has with her parents and grandparents (who are facing their own existential quandaries), to the friends she forms after moving to a new town – which are not always the most obvious candidates as she soon learns – she becomes a product of her surroundings, doing her best to fit in without losing that spark of individuality that she feels best defines her. We all go through a period where we don’t quite know who (or perhaps what) we are, and the journey to figuring it out can be challenging, taking the form of long, winding roads that seemingly don’t have a clearly-defined destination or time of arrival, but do promise to show us many important aspects of life that we would otherwise miss if we didn’t take these risks. It is very helpful that Craig made sure to find the right tone – Are You There God It’s Me, Margaret. is a wonderful comedy, filled with many deeply charming moments, but it could not all be humorous, since there needed to be something to anchor the film on an emotional level. The fact that the director manages to navigate such a heartfelt, moving story without ever needing to resort to the expected cliches or overwrought sense of heightened emotions is truly impressive, and even more fervent proof that she is one of the most fascinating voices in contemporary cinema, both in how she pays attention to every small detail (few films have been able to capture the aesthetic of the early 1970s quite as well as this) and portrays a genuine sense of empathy for its protagonist and her journey.

Perhaps the smartest decision made with Are You There God It’s Me, Margaret. was to adapt it as a character-based film, which is consistent with the style of the novel, but not an obvious choice when bringing it to the screen, since there is always the possibility of expanding too widely on the world in which the story takes place, which ultimately creates the risk of losing the original spirit of the text. As a result, we have a tremendous cast doing exceptional work that is challenging and extremely compelling. Abby Ryder Fortson plays the titular protagonist, and despite her young age, she has already amassed quite an impressive body of work. In this film, the focus is entirely on her, and she delivers a compelling, nuanced performance that feels lived-in and complex, while never seeming like she is trying too hard or defaulting into playing a more precocious version of this character. She’s joined by Rachel McAdams and Kathy Bates as her mother and grandmother respectively, and they come very close to stealing the film, their performances deeply compelling and remarkably entertaining. The focus is rarely on them, but yet they command the screen whenever they appear – the film is ultimately not only about Margaret but also how characters around her adapt to the changes she is undergoing. McAdams portrays someone who is trying to adapt to being a stay-at-home mother, which comes into conflict with a daughter who is starting to leave the nest more regularly, learning to fly without as much guidance as her parents may like, but which they have to accept. Bates finds depth in a character that would have been a one-dimensional stereotype in the hands of any other actor, taking a role that is designed as comedic relief and developing her far beyond any expectations. Are You There God It’s Me, Margaret. is a tremendous character study, and a truly authentic examination of powerful, poignant themes that are brought to life but such an extraordinary and meaningful cast.

Blume’s iconic coming-of-age story has been granted a truly exceptional adaptation, one that is beautifully constructed and extremely meaningful in how it tackles the major themes that defined her literary career. There is a reason why Are You There God It’s Me, Margaret. is often viewed as the most important children’s book on the subject of growing up, because not only is Blume unflinching in how she addresses certain subjects, there is a sense of honesty that prevents it from being too juvenile or a text that trivializes very real experiences. The film adaptation maintains these qualities, adhering to the primary themes while still adding its own artistic nuances, which is a smart decision that feels entirely appropriate considering this material, which is entirely dependent on tone and the specific approach taken by the narrative, which is far more captivating than we may initially have imagined. There is a sense of remarkable honesty in how Craig and her cohorts examine and develop many of these ideas, and it becomes as much about exploring this specific character’s journey as it is about examing the roots of what makes these adolescent years so challenging. Beautifully simple but deeply moving, Are You There God It’s Me, Margaret. is one of the year’s most endearing films – it wouldn’t be appropriate to call it a surprise since the combination of the director and this source material was unquestionably going to result in something special. Ultimately, this film is best described through words taken from the song that appears in its final moments: “I listen to the wind, to the wind of my soul. Where I’ll end up, well I think only God really knows” – and if these words by Cat Stevens, who curated the music for another incredible coming-of-age comedy from over half a century ago, are anything to go by, this film understands the experience of growing up better than most, focusing on both the physical and psychological changes that happen during these formative years, and celebrating the unstable but deeply meaningful journey on which we all embark.