‘Eleanor the Great’ Review: June Squibb Steadies Scarlett Johansson’s Wobbly Directorial Debut

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In Scarlett Johansson’s directorial first, titled “Eleanor the Great“, she attempts to sketch a portrait of aging, solitude, and sorrow in America using the comedic misfortunes of her titular character, portrayed humorously by June Squibb (Thelma)). The movie is worth rooting for due to its endearing lead and intriguing concept (the script is written by Tory Kamen), but it struggles to find its rhythm. The film shifts unevenly between comic skits and dramatic moments, and while Johansson shows skill as a director, it’s not quite enough to compensate for some noticeable tonal inconsistencies. Nevertheless, Eleanor the Great provides a character-centric respite from the oversaturation of sequels, prequels, and other studio productions based on existing intellectual properties.

The movie, debuted at Un Certain Regard’s sidebar, seems an unusual pick for Cannes to me. Instead, it feels more suited for Sundance or TIFF; the film brings to mind the mid-budget comedy-dramas from the 90s – a captivating lead character, competent supporting players, and a story that’s reassuringly predictable with a necessary dose of suspended disbelief.

The story revolves around Eleanor Morgenstein (Squibb), a 94-year-old woman, who is compelled to relocate to New York and live with her daughter Lisa (Jessica Hecht) following the sudden demise of her friend Bessie (Rita Zohar). Struggling to fit in, Eleanor finds that no one seems to have much time for her. In search of companionship, she seeks out activities at her neighborhood Jewish Community Center, where Lisa has enrolled her in singing lessons. A strange mix-up places her in a group for Holocaust survivors, but instead of clarifying the error, Eleanor decides to embrace Bessie’s Holocaust survival tales as her own. This situation leads her to form a bond with Nina (Erin Kellyman), a 19-year-old journalism student eager to document Eleanor’s life experiences.

The idea, although intriguing, could have been presented more effectively. In the movie “Eleanor the Great,” the main character’s questionable actions are explained through her grief and solitude. However, this explanation is not established clearly or forcefully enough at the beginning, making it difficult to fully believe. As a result, what could have been an engaging and somber exploration of an elderly woman reaching out for connections after the loss of her dearest friend turns into an unbalanced and sometimes challenging narrative about a peculiar plan. The film does excel in more impactful areas, such as Eleanor embarking on a second coming-of-age journey by preparing for a bat mitzvah she never had as a child and forming a friendship with Nina.

As a gamer, I’m diving into “Eleanor the Great” where my characters, Eleanor and Bessie, share a delightful journey that spans decades. After losing our husbands, we found solace in each other, moving into a cozy abode in sunny Florida. Mornings are filled with steaming coffee conversations, grocery trips punctuate our weeks, and we unwind every evening watching our beloved anchor, Roger (Chiwetel Ejiofor), on the news.

In this film, Johansson’s direction confidently showcases the tender bond between two elderly women, a connection often depicted in stories about youth but beautifully portrayed here with warmth and affection. Reminiscent of Sarah Friedland’s poignant depiction of aging as a unique phase of personal growth in her remarkable debut Familiar Touch, Johansson, alongside DP Hélène Louvart (La Chimera), presents growing old as an equally captivating and invigorating aspect of maturity.

After Bessie passes away, Eleanor is left devastated and adrift. Additional scenes showing the nonagenarian coming to terms with her grief would have added depth to the movie, making her later actions more believable. However, Johansson swiftly progresses the plot, and soon enough, Eleanor finds herself back in New York, residing with her daughter and grandson Max (Will Price). It doesn’t take long for her to understand that both Lisa, who is dealing with a divorce, and Max, a teenager, are preoccupied and not very receptive towards her.

Eleanor accidentally joins a Holocaust survivor group instead of her singing class with Lisa. Rather than correcting the mistake, she finds the group’s community more appealing than the theater adults in her singing class. In an impulsive move, when asked to introduce herself, she decides on the spot to share Bessie’s background as if it were her own.

In a heartfelt pursuit for her next article, journalism student Nina finds herself deeply touched by Eleanor’s fabricated account of fleeing Poland and settling in the United States. At first, Eleanor refuses Nina’s requests for an interview, but the determined young reporter’s efforts eventually bear fruit. A beautiful friendship blossoms between them, albeit one that could have grown stronger with more time.

Nina’s mother, who was Jewish, had recently passed away, and her father (who Eleanor is unaware is news anchor Roger) is overwhelmed by his own sorrow, leaving Nina feeling neglected. The friendship with Eleanor thus serves as a genuine source of solace for her.

In “Eleanor the Great,” the humor primarily stems from Squibb’s strong portrayal of a character who plays Eleanor, a mother with moments of grumpiness and overbearingness even in her advanced age of 94. Despite this, she remains somewhat independent and prickly, adding to the amusement when she rebukes younger individuals who underestimate her due to their assumptions about her age.

As a dedicated fan, I must confess that when Johansson tone-shifts towards more somber roles, it leaves me feeling a bit unsteady. The transition isn’t always smooth, partly because the acting doesn’t seem to match the increased dramatic tension that the narrative introduces. Eleanor’s deceit leads her into increasingly risky situations – for instance, she finds herself in deep waters when she needs to address journalism students on ethical journalism and faces potential broadcasting by a local news channel about her personal life.

The introduction of a secondary plot focusing on Roger and Nina’s relationship is charming, yet it lacks sufficient screen time, emphasizing the underutilization of Ejiofor and Kellyman in the movie “Eleanor the Great.” These fresh storylines seem to overcrowd the narrative, making one question if streamlining could have been a wiser decision. What’s most disheartening is that we never truly delve into Eleanor’s inner world, leaving the film’s aspirations feeling incomplete as a result.

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2025-05-20 16:55