‘Eleanor the Great’ Review: Scarlett Johansson’s Directorial Debut Is an Unconvincing Crowd-Pleaser, With June Squibb Doing Brash Shtick

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As a devoted admirer, I’d say June Squibb has truly embodied a modern-day Alan Arkin. At 95, she still delivers her sharp one-liners with the impeccable timing of someone whose worldly wisdom seems timeless, as if each quip is another bomb dropped in a joyous, truth-telling spree. For years, she’s been a master at subtly stealing scenes, but it was her breakout role in the 2013 film “Nebraska” by Alexander Payne that catapulted her into stardom. Her unique blend of grandmotherly charm and razor-sharp wit captivated audiences, becoming a crowd favorite. Last year, she took on her first leading role in an action comedy (“Thelma”), and now, she’s back in the spotlight, gracing our screens as the central figure in “Eleanor the Great,” Scarlett Johansson’s directorial debut.

The film aspires to be a contender during award season, showcasing Meryl Streep’s sharp-witted, Arkin-esque, yet brash character, reminiscent of an antique shop owner. It also seeks to explore the emotional depth behind a character who employs her wit as a defense mechanism. Moreover, it can’t be ignored that this film is also designed to evoke sentimental feelings about the Holocaust.

Upon our introduction to Eleanor Morgenstein, a vibrant 94-year-old residing with her oldest friend Bessie in Florida, we find them preparing for their weekly routine – a shopping trip. Though it might seem ordinary, an adventure with Eleanor is seldom uneventful. Known for speaking her mind, even when it’s less than friendly, she doesn’t hesitate to voice her displeasure, even towards the most unsuspecting individuals.

During their visit to the supermarket’s pickle section, they discover that their preferred kosher brand is absent. Seeing this as an opportunity, Eleanor takes it upon herself to verbally reprimand a bewildered stockboy who seems ill-equipped to assist them. The humor lies in her ability to spot and mock his apparent lack of knowledge, which could be compared to a modern-day digital native – a Zoomer. Adding to the amusement is Squibb’s delivery of Eleanor’s lines, as if she were starting her very own talk show.

In the screenplay for “Eleanor the Great,” by Tory Kamen, the dialogue abounds with sarcastic humor from a sitcom, offering advantages and disadvantages. Eleanor, as a character, is skillfully portrayed by Squibb, showcasing her feisty granny persona. However, the storytelling seems intent on eliciting laughter from viewers, which can sometimes feel a bit forced.

Bessie is a Holocaust survivor, carrying an old-world Eastern European accent and a melancholic demeanor that mirrors her disposition. She and Eleanor appear as though they are neighbors in a Jewish retirement community, yet this similarity raises questions. Despite June Squibb’s exceptional acting skills, her portrayal of Eleanor in “Eleanor the Great” doesn’t quite align with the image of someone who grew up in the Bronx, which is what the movie initially suggests.

Nevertheless, there’s a compelling reason behind this. The plot of the movie revolves around Bessie, who was Eleanor’s lifelong companion, passing away unexpectedly. Eleanor has always lived with someone else, so she decides to move to New York City and stay with her daughter Lisa (Jessica Hecht) and grandson Max (Will Price) in their East Side apartment. It soon becomes evident that “Eleanor the Great” is not just a humorous TV character; it’s a deep exploration of the enigma surrounding who Eleanor truly is.

Eleanor remarks to Lisa, ‘I notice you’ve changed your hairstyle,'” Eleanor says, “and I must admit, I preferred the way it was before.” This kind of comment gives Eleanor, as well as June Squibb’s comedy, a somewhat unsociable touch. Eleanor isn’t just sharp-witted; she has trouble with boundaries when it comes to what she thinks is acceptable to say. She talks less to convey information than for her own amusement. And it’s this audacious mouthiness that often lands her in difficult situations.

At the Manhattan Jewish Community Center, where Lisa thought her mother could socialize and meet new people, Eleanor stumbles upon a gathering of Holocaust survivors. Instead of leaving or asking to listen, as one might expect, Eleanor craves attention and decides to join the conversation. She begins sharing a story about being from Poland, recounting various experiences that never happened, effectively fabricating her own history. It soon becomes clear she’s telling Bessie’s tale under the guise of her own. Remarkably, Eleanor delivers an engaging performance, captivating those around her with her made-up narrative.

The table is now set for Eleanor’s fake Holocaust story to go very public.

It’s undeniably unjustifiable for someone to claim another’s story of war survival as their own. However, in an unexpected twist, “Eleanor the Great” could have used more humor to emphasize the absurdity of such a scenario. Instead, Johansson, who effectively directs the film, fails to establish a distinct comedic tone. The movie maintains a serious and neutral demeanor throughout, with Squibb serving as the only source of levity. As the character Nina, Erin Kellyman exhibits a mix of wide-eyed innocence and sorrow stemming from her mother’s death. “Eleanor the Great” aims to explore grief, suggesting that Eleanor’s deceit stems from her inability to cope with Bessie’s passing. However, I found this premise implausible, especially given June Squibb’s delightful performance that overshadows the somber tone of the film.

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2025-05-20 17:17