He lives alone in a leafy Pennsylvania town with a particularly obtuse town council who look at Milton as if he’s come from another planet when he reports to them that a spaceship has crashed into his backyard, smashing his azaleas.
Milton carries on regardless, even when he finds a small alien (played by Jade Quon), curled up face down beside the damaged spaceship.
Gracefully the bruised alien gets up, never speaking but showing both vulnerability and insight.
Calmly, hospitably, Milton offers the alien slices of apple and watches with some satisfaction as its health and strength gradually return.
Kingsley’s performance as Milton is outstanding.
The first 40 minutes are an extremely slow introduction to his life as a 78-year-old man, desperately clinging to what little he has left, walking from his home to the council to raise his concerns, which never vary, until he tells them about the crash, and his smashed azaleas.
Wisely, he keeps the news of the alien to himself.
Although he has a loving attentive daughter (Zoë Winters), Milton’s connection, before Jules enters his life, has come from tenuous friendships with Sandy (brilliantly acted by Harriet Sansom Harris) and feisty Joyce (Jane Curtin).
Once they discover Milton’s alien, who they call Jules, the trio agree they will be disbelieved if Jules’ existence is revealed. Even worse, sweet-natured Jules, no threat to anyone unless they are a threat to Milton, Sandy or Joyce, would be endangered.
Over the next two days, the trio watch admiringly as Jules repairs the spaceship.
Thankfully none of them realises National Security is closing in.
Gavin Steckler’s clever screenplay makes the audience privy to that, and complicit.
Poignancy is never far away. Joyce’s tender relationship with her ancient cat leads to a funeral scene that’s heart-warming at one level while also being completely absurd.
Hazard warning: Cat lovers will either love that scene or be repelled by it.
The point of the film is that people need connection.
Lockdown made that point too, but Jules’ remarkable eyes demonstrate the value of making that connection face-to-face.
Silent Jules is a better listener than Milton, Sandy or Joyce have ever experienced.
Everything is understated, including the ending, which subtly enables Milton to be finally taken seriously.
Jules quietly suggests there are many of us who might need to connect with each other in better ways, many who would benefit from being listened to more carefully.
Must see
The first person to bring an image or hard copy of this review to Starlight Cinema Taupō qualifies for a free ticket to Jules.
Movies are rated: Avoid, Recommended, Highly recommended and Must see.
