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A scene in which she haltingly explains to her daughter why she and her own mother don’t speak to each other any more is wrenching. Mostly, she’s just putting in shifts as a very good and empathetic mother, but there are moments of real emotion, too. And McAdams, who I’d happily watch hanging her washing, suffuses the whole thing with folksy sweetness. Kelly Fremon Craig, its screenwriter and director, has drawn out the timelessness of Blume’s tale, as well as its essential goodness. Still, the film has such a golden heart it’s hard to stay cross with it for long.

Were 11-year-olds in the 1970s really so utterly obsessed with menstruation? At times, too, the cotton-candy girliness of the story can become suffocating. You wait for the poor guy to have his redemptive arc, and prove the mean girls wrong – but he never gets it. The girls in Margaret’s class make fun of one of the pupils, for no other obvious reason than that he’s fat and not desperately attractive. Other questionable choices are made, too. Safdie (who, with his brother, directed the film Uncut Gems) has such an ironic, distant affect that his presence onscreen feels a little weird.

This one-sidedness can be a drag – Margaret has a love interest of sorts, but he doesn’t make much of an impression and her father never gets much in the way of a personality. There are male characters in the film, but really it’s about women, and little women becoming women. Science and Technical Research and Development.Infrastructure Management - Transport, Utilities.Information Services, Statistics, Records, Archives.Information and Communications Technology.HR, Training and Organisational Development.Health - Medical and Nursing Management.Facility / Grounds Management and Maintenance.Together, the four girls do girl stuff: talk about boys they fancy (though it’s far from clear any of them fancy boys yet), bitch about other girls, obsess over when they’ll get their periods, compare bra sizes and do exercises to make their boobs bigger (“I must, I must, I must increase my bust!”). Still, one friend is better than no friends, and soon Margaret finds her place in Nancy’s little gang. But within moments of arriving in the dreaded ‘burbs, she is adopted by local queen bee Nancy (Elle Graham), who looks and talks like bad news. Margaret has her doubts about the family’s good fortunes. It’s eerily like the American dream, and almost as though the film has begun at the end. Margaret’s mother (Rachel McAdams) will be able to quit her job and become a housewife. Margaret’s father (Benny Safdie) has been promoted, so they can finally afford a house with a big lawn on a nice street. Her doting grandmother (Kathy Bates with statement hair) immediately blabs the news that Margaret’s parents are waiting to break: the family are moving to New Jersey. When we meet Margaret, she’s back in New York City after a fun-packed summer spent at camp. It helps that the book’s heroine, 11-year-old Margaret, is played with endearing reserve and self-doubt by Abby Ryder Fortson.

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The result, thank goodness, is lovely: tender, funny, at points very moving, and full of precise and careful performances. Now, the novel that Blume long prevented from being made into a film has finally received the big-screen treatment. Periods, sex, death, bullying: these are things that happen, Blume’s books gently warned – but they can be managed, and here are some examples of how. The book was loved by its young readers for its humour and cosy relatability but it was doing something radical, too: exposing the damper, more shameful realities of being a tween for what they really were – nothing to be ashamed of at all. It’s been more than 50 years since the publication of Judy Blume’s seminal coming-of-age novel, Are You There God? It’s Me, Margaret.

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